The Best of Slydini Vol 1

THE BEST OF

SLYDINI . . . AND MORE Written and Edited by KARL FULVES

Table of Contents

Preface

It is strange

that at a

moment such

what to say . .

With pen

in

tome

before: Magician

the

wonderful

of Magic—but Slydini,

.

.

.

to

and

can

of Misdirection

Slydini,

about

routines

be said

performer,

.

that .

author,

sands of magicians around the world .

one

cannot

think

this great

master's

in

monu-

this

has

.

not

been

Slydini,

.

said

Master

teacher, friend

.

of

to escape me.

write

effects

what

Master

this,

words just seem

hand I was planning

work—about mental

.

as

to

thou-

a legend in his own

lifetime.

I know than just to his

that as tricks,

Magic.

his

The subtle

dedication

to

what

that make

before

you

the

art

this a .

has

is

Use

you

will find

devoted

his

all

about,

to

why

the

whole

new

way

more

entire

life

his psychology, effect

works.

of life

in

Slydini's MAGIC.

a

of Magic

us.

that

of mind as

.

with

these pages,

man

his Magic

magic .

have

innermost secrets

through

ever presence

touches

you

read

will find a

Explaining

thinking,

Readers,

you you

man's who

them

lifetime

of work,

unselfishly well,

for

has

they

a

man's

shared

shall serve

his you

well.

I feel

honored

and proud

undertaking,

to

and much

have more

been than

a that.

SLYDINI.

Tony Spina New York, 1976

part .

of this .

monumental

a friend

of

Introduction S w i t h all f o r m s o f a r t , M a g i c i s a

m o s t p o p u l a r f o r m o f m a g i c t o d a y . T h e r e are

continually

books

evolving,

continually

and magazines devoted exclusively to

this field, c l o s e - u p l e c t u r e s , a n d even c l o s e - u p

growing form of expression. Stage

conventions

m a g i c , the p r o b a b l e link with older forms of m y s t i c i s m , the occult, and juggling,

close-up

has

those just

gone

through

numerous

phases,

from

given

magic.

over entirely to the art of

It is difficult, especially for

entering

the field, to realize that

things were ever a n y different, a n d they t e n d

grand illusions using lavish p r o p s , to card a n d c i g a r e t t e m a n i p u l a t i o n , t o d o v e m a g i c , and—

to

c o m p l e t i n g the circle—to illusions on a grand

been

scale p e r f o r m e d these d a y s for the delight of

when magicians c o u l d find w o r k only if they

television audiences.

had a stand-up act, a time when close-up mag-

historical

record,

the

and structure

that

us.

close-up

But

magic has always

in fact there w a s a time

( a g a i n q u o t i n g H u g a r d ) " . . . b e e n al-

m o s t wholly neglected in the U n i t e d S t a t e s . " Happily, close-up magic is n o w considered

dates back prior to

form

with

ic h a d

Close-up m a g i c is a m u c h m o r e recent addition to the art. While it is true that closequarters magic probably

conclude

a

of

major

force

in

the

development

of n e w

c l o s e - u p m a g i c w e r e n o t d e f i n e d u n t i l w e l l in-

ideas. Close-up magic brings with it something

to

that stage magic never had—a sense of i m m e -

this

correct the

century. J e a n when

Hugard

he wrote,

continent

of

"In

Europe

was

probably

France,

generally,

diacy,

and on

of magic

spectators

a recog-

are

being performed

but inches

the of

magic

a very l o n g t i m e the giving of i m p r o m p t u per-

r o w e d , c o m m o n p l a c e o b j e c t s . All o f these fea-

formances

tures

contribute to the strength of the m a g i c

possible that the magician of the cafes repre-

thus

produced;

s e n t s the i n t e r m e d i a t e s t e p b e t w e e n the itiner-

astonished to

ant street trixter and the stage illusionist."

they w a t c h , the less they see.

The

above

words

gard's booklet,

are

Close-up

quoted

Magic

In

from Hu¬

( 1 9 3 8 ) , per-

though

title.

career

Hugard

booklet

is

instructive

invariably

the

with

bor-

audience

is

discover that the m o r e closely

A m e r i c a the u n c o n t e s t e d a n d s u p r e m e

master of close-up m a g i c is T o n y Slydini. Al-

h a p s t h e first b o o k i n t h e l i t e r a t u r e with t h a t The

spontaneously

while a sense

n i z e d b r a n c h o f the art o f m a g i c has b e e n for to the patrons of cafes. It is quite

happening

away,

be-

he as

has h a d a long and distinguished a performer, lecturer,

and teacher,

cause it clearly illustrates that close-up m a g i c

although he has received every possible honor

as

a n d a w a r d f r o m p e o p l e i n t h e p r o f e s s i o n , al-

performed

through

the

first third of this a collection

t h o u g h his act is greeted by l a y m e n with up-

of drawing-room or platform tricks that c o u l d

r o a r i o u s a p p l a u s e , s t a n d i n g ovations, a n d de-

be

m a n d s for encore

century

depended

performed

and

essentially

on

close-up in night clubs, cafes,

were

Leipzig,

Blackstone,

Malini,

all

of

Horace

them

Goldin,

equally

It

and

adept

of this is the

was

Slydini alone w h o began decades

ago to analyze the elements of close-up m a g i c ,

at

and Slydini alone w h o saw and developed rou-

close-up magic or stage magic. its

tricks, n o n e

subject matter of the present b o o k .

so o n . E x p e r t s in the field at this t i m e

T h e idea that close-up magic could evolve

tines

own

these elements. T h e concepts of Timing and

set

of

s t a n d a r d s , its o w n f o r m a n d

that

exploited

and

capitalized

upon

content i n d e p e n d e n t of the principles of stage

M i s d i r e c t i o n are n o t n e w , b u t it w a s S l y d i n i

magic,

w h o first u s e d t h e s e

was

not

yet

realized.

It

was

only

through the genius o f m e n like J o h n R a m s a y

to

in Britain

develop

close-up

and T o n y Slydini in A m e r i c a that

magic

began

to

achieve

fool

concepts in a new w a y ,

the m i n d rather than the e y e , a n d to new moves

and a p p r o a c h e s that de-

pended solely on Misdirection and Timing.

a standing

a n d i m p o r t a n c e o f its o w n .

A l o n g with

In A m e r i c a close-up magic is p r o b a b l y the

his investigations i n t o the art

of lapping, Slydini created m o v e s like the I m p 3

While s o m e o f the tricks i n this b o o k h a v e

Pass a n d the R e v o l v e to p e r f o r m specific functions necessary to the p e r f o r m a n c e of close-

been published in one

up m a g i c . A l o n g the w a y , a n d in a quiet, un-

the years, it is safe to say that because m a n y

assuming manner, Slydini b e g a n to change the

have been

direction o f the w a y c l o s e - u p m a g i c w a s per-

h a s a d d e d n e w e l e m e n t s o r c h a n g e d the inter-

f o r m e d ; t o d a y the entire

nal structure o f s o m a n y o f the routines, that

close-up

form

of the

art o f

m a g i c in this c o u n t r y is d o m i n a t e d

they

form

streamlined,

or another over

and because

Slydini

will b e n e w t o m o s t r e a d e r s . I t i s a l s o

by the Slydini influence, a n d it is his stunning

safe to say that none

approach

have b e e n previously published in such careful

that

is

the

subject

matter

of this

book.

of the tricks or m o v e s

detail, with so m a n y p h o t o g r a p h s to m a k e the reader's work as easy as possible. P e r s o n a l i n s t r u c t i o n still r e m a i n s t h e o n l y

A

few

words

about

the

c o n t e n t of this

w a y by which magic (or music, painting, etc.)

b o o k m a y be relevant. T h e early chapters pro-

can

vide the reader with easy routines and m o v e s

word. T e x t b o o k s , films, and recordings share

to

in a general w a y with Sly-

the s a m e characteristic in that they present a

Then

Four we

man's work but cannot comment on mistakes

of the fundamental con-

the student might m a k e . Still, t e x t b o o k s offer

acquaint

dini's

him

approach.

take up

the

subject

in

Chapter

be

taught

in the c o m p l e t e sense of the

cepts of Slydini's magic, and in Chapter Five

a form by which

some

a n d over the w o r k of m a s t e r craftsmen. If the

very

simple applications of these con-

the student can study over

c e p t s . T h e w h o l e intent is to give the s t u d e n t

student is

simple

n o t i o n s o f h o w close-up m a g i c s h o u l d b e per-

goals

involved routines book. will

to work toward before he gets

with that

the take

sophisticated up

the

full-length

f o r m e d , if he is willing to s t u d y a n d practice

remainder of the

the

In this w a y it is h o p e d t h a t the reader

absorb

the

concepts

willing to p u t aside p r e c o n c e i v e d

concepts

book,

in the easiest w a y

he

and

will

m e t h o d s d e s c r i b e d in this

begin

to

u n d e r s t a n d the true

n a t u r e o f natural m a g i c i n its p u r e s t f o r m .

p o s s i b l e , t h a t h e will g r a s p w h y c e r t a i n m o v e s

There

is

a

consolation

that

makes

the

m u s t be p e r f o r m e d in certain w a y s to achieve

practice

m a x i m u m i m p a c t o n t h e a u d i e n c e . A l m o s t all

Y o u will b e a b s o r b i n g principles that p r o d u c e

and

study

ultimately

worthwhile.

of the routines in these early chapters were

s o m e o f the finest m a g i c c r e a t e d i n this cen-

devised especially

tury,

for this b o o k , or w e r e in

magic

that

is

the Slydini repertoire b u t had never been p u b -

micks,

lished before.

can be performed

without

performed without gim-

artificial

moves,

magic

that

for a n a u d i e n c e o f o n e o r

B e g i n n i n g w i t h " T h e P u r s e F r a m e , " all o f

five o r five h u n d r e d . S l y d i n i i s t h e g r a n d m a s -

the remaining chapters of the b o o k deal with

ter o f this k i n d o f m a g i c , a n d t o see h i m per-

fully d e v e l o p e d r o u t i n e s , m o s t o f w h i c h h a v e

form is to realize that he has a lock on y o u r

become

mind.

magic.

acknowledged

classics

of

close-up

By the time the reader gets to these

true

Misdirection

and psychology

are

the

and lasting secrets of natural magic, and

routines, he s h o u l d be well p r e p a r e d to a b s o r b

S l y d i n i h a s c a p t u r e d a n d d e v e l o p e d these es-

and appreciate the diabolical m a n n e r of their

sential secrets to the u l t i m a t e of their p o t e n -

construction.

tial. T h i s , t o o , i s the s u b j e c t o f this b o o k .

chapter the

on

The

book

ends

with

a bonus

never-before-published tricks

and Karl Fulves

S l y d i n i S w i t c h , this latter b e i n g a m o v e January 26, 1976

t h a t m a n y will c o n s i d e r the p r i z e o f the b o o k .

4

SLYDINI—A Brief Biography ONY

LYDINI in

was born

fornia on b u s i n e s s , Slydini's sister s u g g e s t e d

F o g g i a , Italy at

that Slydini go with him to see A m e r i c a . He

the

turn

century. name

is

seen

Quintino Marucci.

of His

the

did, and while on the west c o a s t he m e t s o m e

real

p e o p l e w h o l i k e d h i m a n d his w o r k , s u g g e s t e d that

Because he had

his father p e r f o r m a m a t e u r m a g i c ,

he

stay,

attend

night

school,

a n d find

w o r k in California. He was in California three

Sly-

dini w a s influenced at an early age by m a g i c

months,

and

a n d a l s o b y t h e r e a c t i o n h i s f a t h e r w o u l d re-

received

was

ceive when he p e r f o r m e d tricks.

ever got.

At an early a g e he left Italy to settle in

From

B u e n o s Aires, A r g e n t i n a with relatives. In Ar-

Museum,

the

three m o n t h ' s education he

the

only

formal

education

there Slydini w o r k e d the

Newark

the

Museum,

he

Paterson

Philadelphia

gentina Slydini began studying magic by him-

M u s e u m , and others. A l w a y s he was received

self. T h e r e w e r e n o b o o k s , n o m a g i c s h o p s , n o

with

tremendous

magicians

Note

that

that

h e k n e w of, s o h e w a s c o m -

pletely

self taught. T h e enthusiastic r e s p o n s e

t o his

tricks at this t i m e e n c o u r a g e d him to

meant tively

Working

completely

on

his

own,

early to

by

spectators.

and that m o s t m u s e u m s were attrac-

designed,

d r a w i n g a w e l l - p a y i n g clien-

tele. He w a s also b o o k e d for illusion s h o w s in

and

carnivals during the 1 9 3 5 - 1 9 3 7 period.

a gift for m i s d i r e c t i o n a n d p s y -

chology, he began very

enthusiasm

term " m u s e u m " in those days

p l a c e where n o v e l t y acts w e r e per-

formed,

p u r s u e m a g i c still f u r t h e r . blessed with

a

the

About

develop the

1940

Slydini

wanted

to

spend

a p p r o a c h that w o u l d later

C h r i s t m a s w i t h his sister in B o s t o n . While in

make him world famous. By 1 9 3 0 he thought

B o s t o n he s t o p p e d off at an agent's office (a

he was g o o d enough to tour S o u t h America

ritual

a n d m a k e a living a t m a g i c . T h e first s t o p w a s

ton; the

Peru, b u t u n k n o w n to Slydini, the D e p r e s s i o n

for

that

times

rudiments

had

of

the

hit the U n i t e d S t a t e s in

1929 had

he

followed everytime he visited B o s fact

Slydini were

that

the

merely hard).

agent never h a d work

reflected

This

the

fact

that

time the agent said,

s p r e a d t o S o u t h A m e r i c a , a n d like a n i r o n fist

" T h e only w o r k I have is a small s h o w for old

it

d o w n every place of entertainment,

p e o p l e at a local church. Y o u ' l l be p a i d $5 for

m a k i n g it i m p o s s i b l e for S l y d i n i to find w o r k .

e x p e n s e s . I f y o u a c c e p t t h e j o b , it'll give u s a

closed

chance

At this t i m e , S l y d i n i d e c i d e d that since it

to

see h o w y o u w o r k for a u d i e n c e s . "

Slydini accepted the j o b . It was on a Sun-

w a s n o t p o s s i b l e t o find w o r k i n S o u t h A m e r ica, h e w o u l d g o t o the U n i t e d S t a t e s t o live

day.

with

There

was n o b o d y at

the church when

(another brother

S l y d i n i arrived. It was a beautifully d e s i g n e d

the United States from Italy

church with a dressing r o o m on either side of

a b o u t t e n y e a r s l a t e r ) . I t w a s n o t u n t i l h e ar-

the stage. Slydini a s s u m e d that he h a d arrived

rived here that Slydini realized that the D e -

t o o early.

pression w a s as b a d in the U n i t e d S t a t e s as it

set the suitcase d o w n a n d started to o p e n the

his

sister

would come to

was

in

sisted

South that

he

and

brother

America. stay,

B u t his

saying

s u i t c a s e a n d p r e p a r e his a c t . S l y d i n i a s k e d h i m

b r o t h e r in-

when

that they w o u l d

the

show was supposed to begin, how

m a n y p e o p l e w o u l d be in the audience, and so

p r o v i d e for o n e a n o t h e r s o m e h o w . and

on, but to each question the m a n replied in a

that it w a s j u s t as impossible to find

gruff voice that he didn't k n o w . U n k n o w n to

Slydini found

A m a n w a l k e d in with a suitcase,

visited

his

sister in B o s t o n

work. A s i d e from the fact of the D e p r e s s i o n ,

Slydini,

Slydini could not speak English, thus adding

w a s a c o m e d i a n a p p e a r i n g on the s a m e bill.

brother-in-law

name was S a y s o , and he

u p , Slydini realized that he was on the s a m e

any kind at that time. his

man's

When the m a n later b e g a n applying m a k e -

to the considerable b u r d e n of finding w o r k of When

the

went

to

s h o w . He also s p e c u l a t e d that the m a n ' s gruff

Cali5

tone might i m p l y that the c o m e d i a n was jeal-

anything

ous

nightclubs,

or

suspicious

of

S l y d i n i , a n o t h e r enter-

less

than

and

top

billings

private

in

theatres,

organizations.

As

a m a z i n g as the fact of seven straight years of

tainer on the s a m e bill. their

s o l i d b o o k i n g s w a s t h e f a c t t h a t d u r i n g all o f

places. The agent also showed up. Slydini was

this t i m e Slydini was k n o w n exclusively as a

on s e c o n d in a bill of a b o u t eight a c t s . S l y d i n i

stage

d i d his act, a n d while he did, he n o t i c e d that

w a s a master close-up performer w a s not even

the

suspected at that time!

People

began

comedian

wings.

filing

was

After

in and

watching

Slydini

taking

him

from

the

As

f i n i s h e d h i s a c t , h e re-

a

footnote,

it

might

be pointed out

that S a y s o , a c o m e d i a n w h o Slydini did not

ceived a standing ovation. to

or p l a t f o r m magician. T h e fact that he

H e w e n t b a c k t o his d r e s s i n g r o o m , o n l y

like

find

first m e t a t the c h u r c h s h o w , w a s the single

arm

Sayso

around

there.

The

comedian

p u t his

Slydini's shoulder, saying,

because

o f his rude m a n n e r w h e n they

individual w h o h a d the greatest influence on

"Get

the course of Slydini's career.

dressed. I want to talk to y o u . " Out of politeness, Slydini complied. S a y s o then t o o k Slydini

to another r o o m where there was coffee

a n d d o u g h n u t s for the p e r f o r m e r s on the bill. When he started to w o r k in B o s t o n , Sly-

T h e c o m e d i a n l o o k e d at Slydini and in a doing

dini did n o t k n o w a n y m a g i c i a n s . T h u s , h e d i d

h e r e ? " Slydini told him that he had trouble

not k n o w anything a b o u t m a g i c clubs or gath-

puzzled

tone

asked,

"What

are

you

finding w o r k a n d h a d a c c e p t e d the $ 5 j o b be-

erings of m a g i c i a n s . A m a g i c i a n w h o s a w h i m

c a u s e t h a t ' s all t h e r e w a s .

perform

Sayso morrow.

replied,

"I

want

to

see

you

club

to-

asked him if he w a n t e d to go to a

where

amateur

magicians

met.

While

there, Slydini was introduced to the gathering

I'll m e e t y o u a t t h e c o r n e r o f T r e next morning a

by Herman Hanson. Hanson asked Slydini if

snowstorm had started, and by the time Sly-

he would m i n d coming up on stage and doing

mont dini

and was

Boilstone." ready

That

a

to leave to m e e t S a y s o , the

trick.

Slydini did not bring anything with

s t o r m w a s s o b a d t h a t i t w a s all b u t i m p o s s i -

h i m in the w a y of a p p a r a t u s from his act, so

ble to walk, let alone drive to the a p p o i n t e d

he

s p o t . S l y d i n i d i d n o t k n o w i f S a y s o w a s seri-

with b o r r o w e d props.

a bus

Tremont

and

and

half hour

a

subway

Boilstone.

fore

he was a

the

he h a d color

apparatus

S a y s o then t o o k h i m t o the t o p agent w h o h a n d l e d b o o k i n g s for R K O . S a y s o said, " T h i s

hanks

is

not

Slydini."

The

Read,

agent

and

he

met was

without

asking

a

a man

in

Queens

Theatre

in

on

his

desk,

so

one

a

chance

to

speak,

a magician

changing handkerchief.

I have

the

with

m e . " He h a n d e d Slydini the

and the

necessary gimmick. This was

what

Slydini w o u l d have preferred as a

he had.

Quincey,

When

M a s s . a t $ 1 5 a d a y . H e h a d t h e c o n t r a c t already

impromptu

t r i c k t o s h o w o t h e r m a g i c i a n s , b u t i t w a s all

single

q u e s t i o n , R e a d signed Slydini for a three-day engagement

completely

sitting n e x t to him said, "Why don't y o u do

late, to his surprise the c o m e d i a n

w a s w a i t i n g for h i m .

named

perform

perform because he h a d no apparatus, but be-

to the corner of

Although

to

S l y d i n i felt he h a d to refuse the offer to

ous or not but decided to take a chance. He took

had

he

got

onstage

Slydini

asked

the

p i a n o player if he w o u l d p l a y a waltz to ac-

can imagine the

company

the

trick.

S l y d i n i d i d his stand-up

glowing terms used by S a y s o to describe Sly-

version

dini to the agent.

ished, the magicians in the audience were so

Sayso

then

agent,

baffled

at

rousing

ovation.

called J o y l a n d . Then S a y s o t o o k him to yet

a r o u n d h i m and speculated that he m u s t have

another

a radically

and

to

another.

another

r o u t i n e , a n d w h e n h e w a s fin-

w h o s i g n e d h i m up for a w e e k at a n i g h t c l u b agent

took him

of the

The

bookings

started to grow, and Slydini spent seven years

the routine that they gave him a Later,

magicians

gathered

new m e t h o d b e c a u s e he certainly

c o u l d n o t b e using the usual g i m m i c k .

w o r k i n g N e w E n g l a n d , never o n c e a c c e p t i n g

A f t e r this he a t t e n d e d the club at regular 6

intervals,

got

to

know

Herman Hanson and

worked

an

hour

if he so chose, because no

other magicians, and f o u n d out where the lo-

one backstage

cal s h o p s a n d m a g i c i a n s ' h a n g o u t s w e r e . T o -

curtain before he h a d finished. T h e applause

ward

was thunderous when he finished.

the e n d o f his s t a y i n B o s t o n , S l y d i n i

was

a s k e d b y a friend i f h e w o u l d l i k e t o at-

tend

a

convention.

At

the

would

dared have closed the So

strong

was the impression he m a d e that p e o p l e w h o

time he did not

w e r e there still t a l k a b o u t i t d e c a d e s later.

k n o w what a convention was, but he accepted the invitation. He a n d his friend thus a t t e n d e d a c o n v e n t i o n in H a r t f o r d , S l y d i n i ' s first c o n vention. date,

T h e next N e w Y o r k City engagement that

As it h a p p e n e d , Slydini had a club

Slydini

then w e n t right from there to the con-

got

through

Hanson

was

the

Town

vention. T h u s , a l t h o u g h h e w a s n ' t b o o k e d for

H o u s e , a theatre on 4 3 r d street in N e w Y o r k

t h e c o n v e n t i o n , h e h a p p e n e d t o h a v e his act

City. One of the features of Slydini's act there

with

arrived. As it h a p p e n e d ,

was the fact that he did a n u m b e r of routines

one of the big acts that was to a p p e a r at Hart-

in the audience with spectators participating

ford

in the tricks. This feature w a s even u s e d by

him had

route, act

when been

he

involved

in

an

accident

en

the

and the b o o k i n g chairman n e e d e d an

as

a

replacement.

Herman

Hanson,

Town

House

when

dini's act. T h i s m a y s e e m incidental, b u t this

by

then a very close friend of Slydini, s u g g e s t e d

feature

became

Slydini

shortly

thereafter.

as

the

fill

in

act. He p e r f o r m e d his

Dorny

act—in fact h e c l o s e d the b i g s h o w — a n d w a s

show

on magicians began to know

a

curious

point

of dispute

had called Hanson from Chicago,

asking if he

the outstanding hit of the convention. F r o m there

they advertised Sly-

that

could Dorny

Dorny

r e c o m m e n d an act for a was

putting

explained

that

together if the

in

Slydini. When b o o k e r s from out of t o w n went

Chicago.

show

t o B o s t o n t o find n e w a c t s , H a n s o n invariably

w e n t over well in C h i c a g o , the entire t r o u p e

r e c o m m e n d e d Slydini. In fact, it was through

w o u l d be flown to N e w Orleans for a conven-

H a n s o n t h a t S l y d i n i r e c e i v e d his first b o o k i n g

tion

there.

Hanson told Dorny what he had

in N e w Y o r k for the S . A . M . at the B a r b i z o n

told

other

bookers,

Plaza

pletely

show.

Among

those

in

the

audience

that

the

only act com-

guaranteed to bring down

the h o u s e

was Slydini's.

were Dai Vernon, Blanca L o p e z , J a c o b Daley,

Slydini was thus b o o k e d to appear in the

and other N e w Y o r k luminaries. Slydini was b o o k e d t o g o o n s e c o n d , b u t after s o m e b a c k -

Chicago

show.

Dorny

notified

the

N e w Or-

stage shuffling, he was m o v e d up to the clos-

leans b o o k i n g c o m m i t t e e of the show he had

ing slot. No one in N e w Y o r k knew what Sly-

lined u p . In the m e a n t i m e , the p e o p l e in N e w

dini

the

Orleans had learned from the T o w n H o u s e ad

stage manager asked him what he did and he

that Slydini w o r k e d a g o o d deal in the audi-

said, " S o m e silks a n d the r i n g s , " this did little

ence.

to

seen

actually

clarify

did

the

d u r i n g his

situation.

act.

Thus,

When

when

he ap-

Concerned by

the

that

Slydini

could not

be

huge audience at N e w Orleans,

peared onstage to close the show, there was

they wired back a two word telegram, "Can-

no little t r e p i d a t i o n as to h o w he w a s g o i n g to

cel S l y d i n i . "

be received.

Dorny

A d d i n g to this w a s the fact that

in

turn

wired

them

that

if they

S l y d i n i h a d b e e n n o t i f i e d t h a t b e c a u s e his w a s

canceled

the last act on the bill, and b e c a u s e of union

show. T h u s it was through the intervention of

Slydini he w o u l d cancel the whole

contractual

agreements, he would be allowed

D o r n y t h a t S l y d i n i w a s b o o k e d f o r N e w Or-

o n l y five m i n u t e s . T h i s o n l y a d d e d t o the ten-

l e a n s . S l y d i n i k n e w n o t h i n g o f this until after

sion

he

and

show

uncertainty;

with

a

how

five-minute

do act,

you

close

especially

a

him

you're Slydini? Slydini worked audience

a

did half

was

so

not hour.

work The

strong

five

minutes.

uproar

that he

from

had performed

customary

if

about

ovation, the

at

Chicago. He drew the

after

exchange

which

Dorny

told

of telegrams

with

N e w Orleans.

He the

After his

could have

performance

in

New

Orleans,

Slydini received a standing ovation that lasted 7

twenty minutes. He was deluged with requests for

lessons

most

wherever

dramatic

he

response

Bernstein also w h o later b e c a m e instrumental

went. This was the

in

he

book,

had

received

date. He realized that he was ready time engagements, and it was

to

for big-

what

would Slydini

Then

after this t h a t

become

the

second

Slydini

Encores.

Slydini

met Blanca L o p e z , a won-

derful l a d y w h o h e l p e d h i m with m a n y kind-

he moved to N e w York City.

nesses. Blanca L o p e z was also instrumental in the

publication Before

the

of

Slydini

tour in

Encores.

England,

Slydini

t e n d e d a c o n v e n t i o n in B o l o g n a , Italy. Slydini m o v e d to N e w Y o r k in 1 9 4 7 . His

result

of

meeting

first m a j o r b o o k i n g f o r m a g i c i a n s w a s t h e A t -

Slydini

was

lantic City convention.

Europe.

After

do

close-up

He was also asked to

and a lecture there. Slydini did

to

the

to

tour

spectacular

continental British

tour,

greater success.

h i m that in a lecture y o u per-

form

tricks

done.

This show, and the N e w Orleans con-

vention

H a n k V e r m e y d e n in Italy

booked

Slydini toured E u r o p e again and was an even

not k n o w what a lecture was, and it had to be explained

at-

As a

and

then

represented

explain

the

first

h o w they time

are

that Sly-

In 1 9 5 0 Slydini was b o o k e d to lecture in

dini's close-up m a g i c was seen by large n u m -

33

bers of m a g i c i a n s , a n d it w a s b e c a u s e of this

m a r k a b l e was the response that the following

exposure

develop a reputa-

year he w a s b o o k e d to tour the s a m e 33 cities

tion for b e i n g a close-up e x p e r t . At the close-

plus four more. He has also toured m o s t of

that he began to

American

cities

by

R a l p h R e a d e . S o re-

up session in Atlantic City Slydini received a

South

l o n g o v a t i o n for his w o r k .

m o s t of the m a j o r cities of the world.

America,

Cuba,

Canada, Mexico, and

A m a n there n a m e d M a x K a t z a p p r o a c h e d Slydini after the close-up session and told h i m that he w o u l d like to

form a group in N e w

Y o r k City which would take lessons in close-

At one of the early T a n n e n J u b i l e e s , Sly-

up m a g i c from S l y d i n i . He a c c e p t e d the offer.

dini m e t M u r r a y Celwit a n d over the y e a r s has

T h i s w a s the first t i m e t h a t S l y d i n i g a v e les-

b e c o m e a close friend of Murray's. It might be

sons in close-up magic. T h e group consisted of

mentioned

five m e m b e r s .

friends,

Nat

Murray

Celwit,

hundreds

of

Since then Slydini has taught

students

in

the art of close-up

magic.

that

three

of

Bernstein, have

Slydini's

Blanca

done

closest

Lopez,

many

favors

and for

Slydini and have a s k e d nothing in return. It is

He w o r k e d briefly owned by

Al Cohn

at a s t u d i o in a s h o p

(the

this

S p o n g e Ball K i n g )

close

friendship

that

Slydini values

so

highly and c o m m e n t s on so often.

and R u s s Delmar, then o p e n e d up the f a m o u s midtown

studio

which

is

still

the

meeting

p l a c e for his m a n y s t u d e n t s and friends. In the latter

1950's Dai Vernon brought

In

1 9 5 1 Dai Vernon introduced Slydini to

Harry Stanley, K e n B r o o k e , and Lewis Gan-

George Starke and George Karger, who were

son to the Slydini studio to m e e t Slydini and

then

see his w o r k . As a result of this m e e t i n g , S t a n -

Tannen.

ley insisted that Slydini plan a lecture tour of

the

Britain.

world-famous

The

tour is

now history,

as

is

the

d o i n g the

Stars Of Magic s e r i e s f o r L o u i s

Slydini c o n t r i b u t e d three routines to

series, including t w o classics,

that w o u l d b e c o m e

"The

Torn

and

Re-

b o o k t h a t L e w i s G a n s o n w r o t e , t h e first b o o k

stored

of S l y d i n i ' s m a g i c , entitled s i m p l y

Paper B a l l s . " In introducing Slydini to readers

of

The Magic

Slydini.

of

Stars

and

Of Magic

". . . ( S l y d i n i )

O n e o f the m e m b e r s o f the g r o u p w a s N a t Bernstein, who would b e c o m e

the

Cigarette"

has

"The

series, achieved

Flight it a

was rare

of

the

written, thing-

s h o c k i n g the m a g i c i a n s o f this c o u n t r y o u t o f

a close friend

their c o m p l a c e n c y . . . .

and w o u l d help Slydini in m a n y ways. It was 8

He h a s i n t r o d u c e d a

n e w k i n d o f m i s d i r e c t i o n a n d h a s a c t u a l l y re-

out.

d u c e d it to s c i e n c e . . . . He is a p e r f e c t i o n i s t

you're

w h o i n c o r p o r a t e s his sleights into natural logi-

Slydini then p e r f o r m e d the " P a p e r Balls Over

cal actions that c a m o u f l a g e t h e m c o m p l e t e l y ,

t h e H e a d , " all t h e w h i l e a c t i n g a s i f h e h i m s e l f

a n d h e d o e s all t h i s w i t h a g r a c e o f a c t i o n t h a t

did n o t k n o w h o w the trick w a s d o n e .

Maybe

m a k e s his m a g i c beautiful to w a t c h . . . ." The

following

are

two

anecdotes

Slydini from

Incident

Dai Vernon performers

who

convention

in

course,

in

Cuba

were hired to perform the

Cuba

Castro

figure

it

out because

T h e trick was a m a z i n g . "

kept emphasizing that he himself

the

s t e w a r d must k n o w t h e s e c r e t . T h e s t e w -

ard

acted

as if Slydini were

crazy.

Slydini

then said, " O h , w a i t a m i n u t e . He gave me his

and Slydini were t w o of the Havana,

before

can

did not k n o w h o w the trick w a s d o n e b u t that

Slydini's colorful life. The

you

a magician.

(this

picture

at a

was,

as a souvenir. H e r e , I have it in my

briefcase."

of

When

takeover). During

looked

the

steward

saw

the

picture

he

at Slydini, then b a c k at the picture,

the air flight t o H a v a n a , V e r n o n a n d S l y d i n i

then b a c k at Slydini. Finally the light d a w n e d

p l a y e d cards to pass the time.

and he

O n e of the stewards p a c e d b a c k and forth past

them,

were

doing.

hands,

the

obviously

watching

Finally,

at

one

steward said,

what

they

so

point between

"I'll

did

talking to. He

convention. A

who

Vernon

and

Slydini

left

a card location. T h e n he said,

show you

was

Story

from

Baton

Rouge,

La.

S o m e years ago, shortly after Slydini h a d

knowing

he

he

and went away. He was

" C a n I b o r r o w the

tlemen a trick." were,

who

a s h a m e d that he did n o t even show up at

the

c a r d s for a m i n u t e ? I ' d like to s h o w y o u genNot

realized

d r o p p e d the picture

a hospital

for

an

operation a n d w a s at

h o m e recuperating, he received a p h o n e

another o n e . " Vernon took a

call

from a magician in B a t o n R o u g e , L a . , asking

card, and was a s k e d to return the card to the

Slydini

deck. V e r n o n p r e t e n d e d to return the card to

S l y d i n i , still i n t h e p r o c e s s o f r e c u p e r a t i o n , a t

the deck, but i m m e d i a t e l y stole it out. The failed

steward

tried

repeatedly.

to

find

the

first

card

but

deck,

and

Finally Vernon said, " I ' m

produced

the

card

from

said

first

said,

"You

know,

it's

Baton

Rouge

for a s h o w .

no, b u t the caller talked h i m into

class

the

air

travel,

hotel

accomodations,

S l y d i n i a c c e p t e d t h e i n v i t a t i o n . A t t h e airport

then

to

food, and other essentials.

deck. Slydini

fly

d o i n g the s h o w . H e p r o m i s e d (and delivered)

sure I saw the card in the d e c k . " V e r n o n t o o k the

to

a

he

was

picked up in a private car and

t a k e n to a m a n s i o n at a c o u n t r y c l u b w h e r e a

strange thing, b u t since I w a s a b o y I l o v e d

dinner

m a g i c . B u t I never c o u l d find a place to learn

a b o u t the

magic. H o w d o y o u people d o it? Where d o

finally i n t r o d u c e d to the a s s e m b l a g e . T h e gen-

you buy your tricks?"

was

tleman

being

reason

who

held.

Knowing

nothing

for the dinner, Slydini w a s

booked

Slydini,

a

man

named

T h e steward replied, " O h , we have a club

Pike, finally e x p l a i n e d that the dinner w a s be-

in H a v a n a . In fact w e ' r e g o i n g to have a con-

ing given for the B a t o n R o u g e football t e a m ,

vention. I ' m one of the c o m m i t t e e m e n . "

who

The

man

said,

"Certainly.

were

scheduled

In fact we're

Slydini

performed

h a v i n g m a g i c i a n s f r o m all o v e r t h e w o r l d , D a i

packed house.

Vernon, Slydini, and many others."

ovation.

Slydini

said,

"Ah,

you

t o play their traditional

rivals a t N e w Orleans the f o l l o w i n g d a y .

Slydini, feigning surprise, said, " R e a l l y ? "

At

show

before

a

The show received a standing

the

football team,

reminded me of

the

end,

asking,

addressed

the

"I w o u l d like a quick-

something. On 116th Street, N e w Y o r k City,

witted member

I saw a magician. He was very g o o d . After half

forward

an h o u r I w e n t up to the front seat, a n d the

T h e t e a m p u s h e d o n e o f t h e i r t e a m m a t e s for-

magician

ward.

seeing m e ,

called

me

u p o n t o the

and help

9

football

me with

one

team more

to step trick."

Slydini b r o u g h t him a chair a n d a s k e d

h i m t o sit d o w n .

s t a g e . He d i d a trick that I c o u l d never figure

of the

Slydini

He said, "What do y o u use in your work, in

football?

You

use

misdirection to throw

off the other t e a m , right? I use misdirection, too,

and

I'm

performed Head,"

going

the

because

s u m i n g m a n with a wry sense of h u m o r , singular qualities in o n e so gifted.

to show y o u . " He then

classic "Paper Balls Over the

always

a r o u n d the idea. A l w a y s he is a quiet, unas-

emphasizing,

"Try

A s c a n i o , the distinguished magician from S p a i n , h a d this to say a b o u t Slydini:

to follow

I ' m going t o try t o fool y o u . " T h e

" I f I were sence

a s k e d w h a t c o n s t i t u t e s the es-

of magic,

the

great

secret

of being a

h o u s e was in an uproar of laughter as the trick

magician

p r o c e e d e d . At the finish S l y d i n i m a d e a p a p e r

performer),

ball

very well k n o w n ; in s u c c e e d i n g in m a k i n g the

" a s big as a f o o t b a l l " and caused it to

vanish.

It s t o p p e d the s h o w c o m p l e t e l y

produced

a

sensational

response

I

not

simply

would

a sleight-of-hand

answer with

something

and

actions

the

casual. S l y d i n i purifies a n d carries this n o r m

from

audience.

of

the

trick

a p p e a r really logical or

t o i t s u l t i m a t e c o n c l u s i o n w i t h a s t o u n d i n g in-

H e t o o k his b o w , saying, " Y o u d o n ' t have anything know

(and

to

worry

everything

about about

tomorrow.

You

misdirection,

and

t u i t i o n a n d k n o w l e d g e . A l l , a b s o l u t e l y all, h a s a j u s t i f i c a t i o n for the s p e c t a t o r , a j u s t i f i c a t i o n at

times

extremely

subtle,

consisting

of

a

y o u ' r e going to win. T o m o r r o w I'm going to

g l a n c e , a s i n g l e w o r d , a r e s t o f a l m o s t all o f

be with y o u and I'm going to see y o u w i n . "

the

One

of the m e m b e r s of the t e a m replied,

body,

a minimal,

" I f w e win t h e g a m e , w e will a u t o g r a p h the

but

important

g a m e ball and send it to y o u . " T h e y w o n , and

this

is

they

sent

an

a u t o g r a p h e d g a m e ball to Sly-

d i n i . I t i s still i n h i s c o l l e c t i o n .

details. . . .

commercial

time,

the

T h e m a y o r o f the city w a s a t the b a n q u e t

innocent

quality.

"On

studying

and

The

in

and

in

procedures

also, a n d gave Slydini an elaborate scroll. T h e offered

imperceptible, result

(Slydini's)

their entirety,

the

which,

are

marvels closely

enormous magical

talent

of seeing him p e r f o r m . As a going-away pres-

everyone:

ent

content, 'Intelligence m a d e m a g i c '

formed)

Pike

had

a custom-made Christmas

of their Pure

"Behind

at the

of the m o s t

his p e r s o n a l t h a n k s t o S l y d i n i for the p l e a s u r e (it w a s n e a r C h r i s t m a s w h e n S l y d i n i per-

o f all

a m a g i c in w h i c h the effect is extra-

ordinarily same

chief of police was also present and

almost

gesture. E a c h routine is replete with such tiny

originator b e c o m e s evident to magic

every

of e n o r m o u s cerebral

m o m e n t of every

Slydini

c a r d p r o d u c e d a n d p r i n t e d for S l y d i n i t o dis-

trick there

t r i b u t e t o his friends. When S l y d i n i left B a t o n

b e h i n d every p h a s e or of each gesture—all the

are h o u r s

of study

of the

'why';

R o u g e there was a c r o w d lining the street as if

theory of m a g i c ; and of a new magic, distinct

he were a world-reknown celebrity, as indeed,

from

in a special s e n s e , he w a s .

appearance,

all w h i c h i s k n o w n — s i m p l e i n e x t e r n a l direct

and

sharp

like

a rapier's

thrust in the s e q u e n c e of explosive effects. "It is magic of total psychological dimension, magic of repeated and repeated destroyIn

s u m m a t i o n , Slydini is a w a r m , gentle

ing i m p a c t , visual m a g i c , s p e c t a c u l a r with un-

m a n b e l o v e d b y all w h o k n o w h i m . H i s c r e a -

ending surprises, with effects that disarm one

tive gift is s u c h that he c a n d e v i s e tricks faster

and again, always in crescendo, always m o r e

than

astonishing. . . .

they

can be

sent him with immediately

written

d o w n . S i m p l y pre-

an idea or a p r o b l e m , and he

begins

creating

beautiful magic

I f the w o r d were not exces-

sively u s e d , I w o u l d s a y s i m p l y — ' M a g i c Of A Genius.' "

1

Basic Precepts T is well to p o i n t o u t at the start

Over

that what we k n o w t o d a y as Close-

books,

the

years,

in

scattered

articles

and

s o m e of these observations have been

Up Magic is a relatively recent de-

described. T h e present chapter is a collection

v e l o p m e n t in the art of M a g i c . It is

of these basic precepts of Slydini's magic, plus

true that m a g i c with small objects dates b a c k

n e w material d e v e l o p e d over the p a s t t w o de-

to the d a w n of civilization. Over the centuries

cades and never before published.

there

has

room

S o m e of these observations m a y appear to

m a g i c , c l o s e - q u a r t e r s m a g i c , m i c r o m a g i c ; all

be incidental, mere c o m m o n sense details on

of these are terms m e a n t to i m p l y C l o s e - U p

how best

Magic in one form

fact each detail contributes to the i m a g e y o u

true

been

street

magic,

drawing

or another. B u t it is also

that magic with

small objects depended

to

present

close-up magic. B u t in

want to present to y o u r audiences, the image

mainly on the s a m e principles that were u s e d

of

in

were

k n o w s h o w to h a n d l e his a u d i e n c e s as well as

that

h e handles his p r o p s , k n o w s h o w t o a v o i d p o -

stage

tricks.

generally one

the

interchangeable,

could

direction, to

Indeed,

apply

so

any

much

so

the older c o n c e p t s of mis-

timing, handling,

almost

principles

type

of

and

was

a smooth,

trick, be it thimble-

ferent from

magic

was

fundamentally

Slydini

who

a s t o h o w this t y p e o f m a g i c s h o u l d

developed

and

presented.

his

business,

flawless presentation of c o m p l e t e l y

audiences

large

performing

dif-

theories be

radically

knows

is priceless, born of years of experience before

countries

other types of magic, and it was developed

who

natural magic. T h e information in these pages

S l y d i n i w h o first r e c o g n i z e d that

close-quarters

professional

tentially difficult situations that detract from

presentation

rigging or the largest stage illusion. It

a

and small,

condition,

in

every kind of

in m o s t of the major

of the world, by the a c k n o w l e d g e d

master of natural magic.

different

These theories

were not merely abstract ideas; when applied to

magic

they

produced

sensational

effects

Slydini's Secret of Entertaining Audiences

that stunned magicians and l a y m e n alike. It is this

fact

that p r o v e d the practicability of his

It is well k n o w n that Slydini is one of the

theories.

Of course, y o u could present close-

m o s t successful performers in magic. Over and

up

magic

the w a y others did, using the s a m e

approaches

and

concepts

over

again

knowledgeable

commentators

on

that h a d been u s e d

the e n t e r t a i n m e n t s c e n e have raved a b o u t his

for c e n t u r i e s , a n d y o u w o u l d a c h i e v e the s a m e

ability to hold any audience spellbound. T h e

m e d i o c r e results. B u t there w a s an alternative;

secret

y o u could perform close-up magic according

c o m p o s e d of m a n y carefully developed facets

to

e x p l a i n e d h e r e f o r t h e first t i m e .

Slydini's

theories and p r o d u c e an entirely

different i m p a c t on y o u r audience, an i m p a c t

of his

success is n o t accidental. It is

First, when Slydini does close-up work, he

s o s t r o n g that the m a g i c s e e m e d u n c a n n y .

waits

for

the

audience to settle d o w n . It is

n a t u r a l t h a t t h e y will a d j u s t their c h a i r s , c o m -

This chapter details s o m e of the basic obthe

m e n t to one another, etc., between acts. Sly-

y e a r s i n p e r f e c t i n g h i s m a g i c . N o t all o f t h e

dini w a i t s for the a u d i e n c e to quiet d o w n be-

material

fore he b e g i n s his p e r f o r m a n c e .

servations

cian. wrote

Slydini

will

About the

be

new

twenty

first

has

developed

over

to the well-read magiyears

ago J a c o b

in what w a s

Daley

I f t h e r e i s still n o i s e , o r i f t w o p e o p l e p e r -

to have been a

sist

series o f l e s s o n s detailing S l y d i n i ' s a p p r o a c h .

in talking to one another, Slydini looks

directly 11

at them, smiles, slaps the table a nd

s a y s , " O k a y , s h a l l w e b e g i n ? " B y l o o k i n g di-

doing the

rectly

the p e o p l e m a k i n g noise, audience

will c h o o s e a s p e c t a t o r w h o s e e m s at first like

is

a live wire b u t turns o u t to be dull a n d e m o -

at

attention

automatically

directed to

them.

trick solely

As is the case when Slydini finds himself in

tionless.

this k i n d o f s i t u a t i o n , y o u r m a n n e r s h o u l d b e

wait until the e n d of the routine. T h e n , while

firm b u t n o t

smiling

the a u d i e n c e is a p p l a u d i n g the trick j u s t con-

m a k e it clear that y o u r intent is only to

cluded, quietly thank the spectator and direct

you

abrupt

begin your act

or impolite.

and not

By

to act rude with the

him

audience.

get him off in a natural manner,

to return to his seat. When the a p p l a u s e

quiets d o w n , ask for another volunteer specta-

When

the

attentive,

look

tor, a d d i n g , "I d o n ' t w a n t y o u to think I u s e a

and mentally decide

on a

c o n f e d e r a t e , so we'll have s o m e o n e else assist

spectators

over the audience

are

m e for this n e x t t r i c k . "

s p e c t a t o r w h o will a c t a s y o u r assistant. T h i s p e r s o n s h o u l d be well

dressed and attentive,

T h e rule is that if the s p e c t a t o r is respon-

bright and receptive.

sive,

on

experience

in

dealing

with

y o u keep him for the n e x t trick. Other-

w i s e , l e t h i m r e t u r n t o h i s s e a t a n d i n v i t e an-

In part, the c h o i c e of such a s p e c t a t o r depends

To

for h i m . At times y o u

other

audi-

on

e n c e s . I n t i m e y o u will learn w h i c h s p e c t a t o r s

spectator up.

the right t y p e

For

further

to a v o i d a n d which to invite up to assist y o u .

the

B u t even if y o u m a k e a w r o n g choice, there is

Over the H e a d " in Chapter T e n .

a

natural

way

observations

of spectator to use, check

opening paragraphs of " T h e Paper Balls

to get him offstage which will

be discussed later on. O n c e the spectator is chosen and invited The Basic Starting Position

t o a s s i s t , y o u d i r e c t all a t t e n t i o n t o h i m d u r ing the routine. This is the secret of m a k i n g

S i n c e this b o o k deals e x c l u s i v e l y with S l y -

the a u d i e n c e feel a t e a s e . T h e y c a n w a t c h the interaction

between

magician

dini's a p p r o a c h to Close-up Magic p e r f o r m e d

and spectator,

k n o w i n g t h a t t h e y will n o t b e c a l l e d u p o n o r

while

seated

t h a t y o u will u n e x p e c t e d l y direct a t t e n t i o n a t

many

fine

them.

You

niques. Thus, it is not enough to merely state

tunity

to relax

the

are

thus giving t h e m and enjoy

the

the

oppor-

show,

sharing

that

tricks.

the

magic

R e m e m b e r that i f y o u fix y o u r atten-

the

thinks

table,

as

performer

Everyone

assistant's surprise and a m a z e m e n t at the

at

points

well

is

it as

must

seated

they

know

include

essential at

tech-

the

table.

how to perform

while seated at the table, b u t Slydini

tion on a particular s p e c t a t o r in the a u d i e n c e ,

long

he

k n o w l e d g e frequently failed to include impor-

will

be

uneasy,

thinking

that

you

have

ago

realized

such

common

singled h i m o u t b e c a u s e y o u i n t e n d t o call o n

tant

him.

average m a g i c and true artistry.

At

the

attention

close

to

the

of each routine, audience to

The

turn y o u r

accept the

details

that

that spell the difference b e t w e e n

basic

Slydini's

ap-

sense

table

starting position magic

takes

for m o s t

into

of

account

a

p l a u s e . Y o u c a n j o k e a t this p o i n t , k e e p i n g i n

n u m b e r o f crucial details. N o t o n l y are these

mind

details

that

if

you

act h u m b l y ,

the

audience

explained

here,

but

the

reason

why

will b u i l d y o u u p . T h u s , a t y p i c a l S l y d i n i l i n e

they are crucial is also e x p l a i n e d . T h r o u g h o u t

after the c o m p l e t i o n of a routine:

"It wasn't

the b o o k this p o s i t i o n will b e referred t o a s

than nothing." Ac-

the b a s i c starting p o s i t i o n or b a s i c rest posi-

much

but

it

was

better

tion.

tually, since the reverse is usually the case a n d the audience w a s a s t o u n d e d at the trick they just

witnessed,

more

they

enthusiastically

will

applaud

The quarter

that m u c h

performer's

to s h o w their apprecia-

the

E x c e p t to a c k n o w l e d g e the audience's apgenerally

to

sits

at the table facing a

the left. T h i s m e a n s that the

right

side

represents

a

narrow

angle to the right, thus sealing o f f that side to

tion of the trick. plause,

performer turn

you

turn y o u r

audience,

flashes

attention to

right.

the assisting s p e c t a t o r , acting as if y o u were 12

and

preventing

of moves, palms,

inadvertant

steals, etc.

to

the

The

distance

between

the

fits

performer's

the

top

of the table with no overhang,

Slydini p r o c e e d s as follows. Place the table-

b o d y a n d the table i s a b o u t e q u a l t o the dist a n c e b e t w e e n the first a n d little fingers if the

c l o t h o n the t a b l e s o i t j u s t fits the t a b l e t o p .

fingers are held w i d e a p a r t , a b o u t six inches

T h e n give it a q u a r t e r turn. T h i s brings a cor-

on

ner of the

the

average.

The

performer

sits upright.

tablecloth into your lap

and you

are r e a d y t o p e r f o r m .

T h e feet are c r o s s e d at the ankles, the r e a s o n easier to raise the knees an

A l s o , if p o s s i b l e , p i c k o u t a chair that will

inch or t w o this w a y to p r e v e n t a l a p p e d o b -

be j u s t right for y o u . If the chair is t o o low,

j e c t from rolling off than if the feet are n o t

t o o small, or u n s t e a d y , ask for a n o t h e r chair.

being that it is

Y o u are seated in such a w a y that y o u can

crossed. A person

lean

of smaller stature m a y have to

f o r w a r d or sit b a c k in the chair w i t h o u t

raise his feet at the heels so that o n l y the t o e s

strain. D o n ' t s l o u c h i n the chair, a n d d o n ' t sit

c o n t a c t the floor. T h i s in turn will raise the

rigidly upright.

knees

A c t relaxed and confident.

and

help

prevent

small

objects

from

The

rolling off the lap o n t o the floor.

S i t c o m f o r t a b l y in the chair.

h a n d s will g e n e r a l l y m o v e v e r t i c a l l y

When t a k i n g his s e a t at the t a b l e , the per-

up a n d d o w n . T h u s if the right h a n d rests at

f o r m e r c a n , in the act of adjusting the trouser

the edge of the table and the performer wants

legs, pull up the cloth on one trouser leg so

to gesture with that hand, he raises the hand,

that it overlaps the other trouser leg.

then lets it d r o p b a c k to the edge of the table. If the

T h e table should have a tablecloth. There

hands

move

to

the right or left, the

p e r f o r m e r ' s b o d y l e a n s i n the a p p r o p r i a t e di-

are t w o r e a s o n s for this. T h e first i s t h a t since the cloth is draped over the front a n d sides of

rection. T h e m o v e m e n t o f the hand a n d b o d y

the table, it prevents the audience from seeing

m u s t b e s y n c h r o n i z e d a s t h i s l e n d s a n air o f

the lap f r o m the front or the sides a n d h e n c e

b e l i e v a b i l i t y t o t h e g e s t u r e . Y o u will s e e S l y -

screens steals, loads, and other lapping maneu-

dini in this starting p o s i t i o n in m a n y

vers. T h e s e c o n d r e a s o n for the use of a table-

tricks in this b o o k . S e e for e x a m p l e F i g u r e 1.

of the

cloth is that if the cloth is long enough, the

All of the above is theory and s o m e of it

p e r f o r m e r can pull the near edge of the cloth

m a y s o u n d o b v i o u s o r e l e m e n t a r y . T h e s e de-

b a c k o n t o the lap and thus form a p o c k e t or

tails c a n n o t be a b s o r b e d unless there are con-

i m p r o m p t u servante to aid in the lapping and

c r e t e r e a s o n s for p u t t i n g t h e m t o u s e . T h u s ,

retrieval of objects.

t h e y will c o m e u p i n the f o l l o w i n g p a g e s a g a i n

If the

cloth

a n d again s o that the r e a d e r will b e g u i d e d i n

is not long enough, Slydini

their correct application.

s o m e t i m e s uses a d o d g e that a l w a y s goes unnoticed.

There

He r e m o v e s a h a n d k e r c h i e f from his

are

exceptions

to

every

rule,

of

course. It has been said that Slydini's magic is

i n s i d e j a c k e t p o c k e t , p a t s his f o r e h e a d w i t h it, and then pretends to replace the handkerchief

u n i q u e l y his

in the p o c k e t . Actually he drops the handker-

less o n e a s s u m e s his m a n n e r i s m s . T h u s , it m a y

chief to

the lap, and without hesitation con-

be natural for Slydini to sit facing a quarter

t i n u e s t h e m o v e m e n t o f t h e h a n d a s i f t o re-

turn to the left, to c r o s s his feet at the a n k l e s ,

place

to

the handkerchief into

the p o c k e t . T h e

use

o w n and cannot be learned un-

certain

gestures,

and

reader should not confuse

other h a n d spreads the h a n k over the lap.

so on. B u t the

theory

with prac-

If there is no tablecloth and the audience

t i c e . In the first p l a c e , it is t r u e t h a t S l y d i n i

is s e a t e d in s u c h a w a y that y o u are sure they

h a s certain m a n n e r i s m s that are u n i q u e l y his

c a n see the v a r i o u s steals w h e n t h e y are per-

own. If the reader were born in Italy, raised in

f o r m e d , rub y o u r h a n d over the surface of the

South America, m o v e d to California and Boston a n d finally settled in N e w Y o r k , he, t o o ,

table, say something like, "This surface isn't

w o u l d have certain unique mannerisms.

s m o o t h e n o u g h . C a n I have the use of a table-

T h e point to remember is that Slydini is

c l o t h ? " Another precaution is to carry with y o u a tablecloth at least large enough to ade-

outlining basic

quately cover a bridge table.

Absorb

If y o u

the

theory

theory.

in

Learn

these why

early

pages.

S l y d i n i per-

forms each m o v e . When y o u have grasped the

are given a t a b l e c l o t h w h i c h j u s t 13

underlying principles fully

and

If a m o v e or sleight is a w k w a r d or d o e s

u n d e r s t a n d w h y his a p p r o a c h is recog-

not suit y o u r o w n manner of presentation, it

nized as magic,

of

Slydini's

work

the highest e x p r e s s i o n of artistry in

then

you

can

adapt

his

is

concepts to

necessary

to s t u d y a n d a n a l y z e the m o v e

a n d m o d i f y i t i f n e c e s s a r y t o fit y o u r m a n n e r

your own manner of working.

o f w o r k i n g . D o n ' t feel t h a t y o u m u s t p e r f o r m a m o v e e x a c t l y as w r i t t e n if it d o e s n o t feel natural.

Strive

to

a d a p t y o u r a p p r o a c h t o fit

the m o v e , or, c o n v e r s e l y , m o d i f y the m o v e s o The Eyes

t h a t y o u feel c o m f o r t a b l e u s i n g it. T h e c a r d i nal rule is to a v o i d m o v e s or handlings that do

Another very

important aspect of proper

n o t feel c o m f o r t a b l e . T h e a u d i e n c e will s e n s e

presentation is the u s e of the e y e s to direct

that y o u are n o t at e a s e , a n d a situation devel-

audience

o p s that d e s t r o y s the d e c e p t i o n y o u are trying

look

attention.

directly

at

During

the

a routine if y o u

spectator without blink-

to create.

ing, as if c o n v e y i n g e x c i t e m e n t or enthusiasm

When Slydini c o m e s across a situation in

a s y o u s p e a k t o h i m , h e will b e u n a b l e t o t a k e

the d e v e l o p m e n t of a routine where the m o v e

his e y e s f r o m y o u . T h i s i s easily verified, a n d

feels

to satisfy y o u r s e l f that it is true, u s e this approach

with

a

friend.

L o o k directly

at him

or

is

sciously s u m m o n e d to l o o k directly at y o u . to w o r k in

the

the

spectator but

example

the and

compelled

to

audience,

too,

c o n t e x t of a

Wherever

the

about

volunteer

other

use

something that has

to misdirect the audience's attention, co-

ordination ling,

spectators.

spectator looks,

creating a new effect,

generally t a k e s i n t o a c c o u n t the m e a n s h e will

follow his

l o o k exactly where y o u direct

worry

and further to

established guidelines to m a k e the task easier.

them. Don't

the situation to

awkward,

While there are no h a r d a n d fast rules, S l y d i n i

l o o k directly at will

analyzes

is

never b e f o r e b e e n c o n s i d e r e d , so there are no

m a g i c a l effect, y o u will find that n o t o n l y is you,

he

it

wardness. K e e p in mind that in m o s t cases he

e n t h u s i a s m , h e will b e u n c o n -

Putting this

why

d e v e l o p an a p p r o a c h that o v e r c o m e s the awk-

while telling a story. If y o u c o n v e y a sense of excitement

awkward,

discover

of this m i s d i r e c t i o n with the hand-

the

timing

of patter and gestures, and

finally the w a y this s i t u a t i o n will l o o k t o the

the

audience.

a u d i e n c e ' s a t t e n t i o n will b e similarly d i r e c t e d .

The

situation m u s t appear natural,

exactly as it w o u l d if no secret moves were performed. Common

Notes on Natural Magic

sense

is

the best guide regard-

i n g p a t t e r . T h e p a t t e r s h o u l d tie i n logically with

A point that Slydini emphasizes over and

the

"Slydini

handling.

For

example,

in

the

S w i t c h " in Chapter Fifteen Slydini

over in his l e s s o n s to his students is that y o u

says, "I always get b a d c a r d s , " as he gestures

y o u r s e l f m u s t believe w h a t y o u are saying. If

with

you

switch.

convey by

expression and tone of voice

the

that w h a t they are g o i n g to see is truly m y s t i -

the

"Today

t h e o t h e r h a n d , i f y o u fail t o e x p r e s s y o u r s e l f

matter with

a n d will b e g i n

nection You

with make

the

hands,

sure

etc.

that

your presentation,

these

to

used

whether to

Suppose, a

however,

beautiful

much

voice,

with

may

will b e

throughout

cover

his

during the action of the

a l o g i c a l p a t t e r line a n d fits

get

words

gesture away

he

the

No

conveys

have

made by

with

said,

instead.

enthusiasm the

the

day,"

he

no

con-

the hand.

actual

me-

chanics of the switch, but audience suspicion

convey enthusiasm, are

is how

b e l i e v a b l y , the a u d i e n c e will s e n s e d e c e p t i o n to suspect everything y o u do

is

gesture.

fying, the a u d i e n c e will believe w i t h y o u . O n

and say. Also, if y o u use mannerisms, gestures

right h a n d This

startling

a move

directed at you, the

take

and no matter how

suspicion

or not, so that they are a natural p a r t of y o u r

method

manner.

y o u are trying to achieve. 14

will

trick,

the

edge

regarding off

the

the

impact

T h e s u b j e c t will be c o v e r e d in greater detail in

Developing Grace

Chapter When

they

perform

may

a trick, m a n y magi-

Three.

In the m e a n t i m e , the reader

want to p o n d e r a p r o b l e m that appears

c i a n s fall i n t o t h e h a b i t o f t r e a t i n g t h e t r i c k a s

difficult b u t which

if it w e r e

with

tion

a puzzle rather than a demonstra-

of magic.

Cups

and

tricks,

An

excellent

often

does

the

Cups

and

ball,

most

a coin,

behind

Balls

can be handled elegantly

application

of coordination.

or a ring for e x a m p l e , h i d d e n

a p a c k of cigarettes that lies on the

table. Y o u wish to secretly get the hidden ob-

l o o k like real m a g i c ? In

proper

S u p p o s e y o u have a small object, a paper

e x a m p l e is the

Balls. A l t h o u g h one of the oldest

how

the

presentations

of the

Cups

j e c t into a p a l m p o s i t i o n in the left h a n d while

and

Balls, the objects appear, disappear, or change

conversing

w i t h o u t m o t i v e . T h e m a g i c i a n m a k e s the c o m -

table from y o u . The problem is to accomplish

m o n mistake of forgetting that he is exercis-

this in a c o m p l e t e l y natural m a n n e r , w i t h o u t

ing his ability or h i d d e n p o w e r s , m a g i c a l abil-

elaborate covering actions, in such a w a y that

ities that c a u s e o b j e c t s to a p p e a r or d i s a p p e a r .

the s e c r e t " t a k e " o f the o b j e c t will a r o u s e n o

D o n e with the proper approach,

s u s p i c i o n . A s y o u will d i s c o v e r , S l y d i n i d o e s

even if the

with

someone

sitting across

the

p e o p l e d o n ' t actually believe the p e r f o r m e r is

this o p e n l y , b u t the m o v e is so natural that it

a r e a l m a g i c i a n , t h e y will still f i n d t h e r o u t i n e

is invisible to the audience.

fascinating to watch. More often than not, if a magician m a k e s a m o t i o n t o w a r d an o b j e c t , it is a m o t i o n devoid

of feeling,

expression,

Noise

or grace. If the

p e r f o r m e r tries t o a c q u i r e graceful m o v e m e n t s on his

own,

generally

he

will

look

silly

When

or

teaching

his

students,

Slydini

ar-

p o m p o u s b e c a u s e h e does n o t understand the

ranges to have background music playing. If

end result he should be trying to achieve.

the student objects that the m u s i c is distracting, S l y d i n i p o i n t s o u t that this is e x a c t l y w h y

The hands and arms m u s t be relaxed. T h e movements

must

be unhurried, natural,

he has m u s i c playing; if the student gets ac-

and

logical. All m o v e m e n t s , whether of the b o d y ,

c u s t o m e d t o p r a c t i c i n g i n d e a d s i l e n c e , h e will

arms, hands, or eyes, must be done without

be unnerved by the b a c k g r o u n d noise of ac-

tension.

When

the

proper

movements

tual

have

performing

practice

been achieved, the magic is beautiful to watch.

conditions.

session

conform

By

making

more

closely

these conditions, Slydini

accustoms

dent

he

to

the

distractions

will

the to

the stu-

face

when

w o r k i n g b e f o r e a live a u d i e n c e . Coordination J u s t a s t h e h a n d s o f a c l o c k m o v e a t dif-

S o m e General Observations

ferent speeds, so do the magician's hands as they m o v e a b o u t the table to pick up objects, place

them

down, pluck them from

Many

t h e air,

magicians

audience.

This

m u s t be coordinated such that if

close-up field where it is e a s y to r o u t i n e to-

the h a n d s are m o v i n g s i m u l t a n e o u s l y , a n d o n e

gether several tricks that do n o t require audi-

h a n d m u s t travel

distance than the

ence p a r t i c i p a t i o n . T h e m a g i c i a n then devel-

other, the h a n d s s h o u l d reach their respective

o p s the h a b i t o f t a l k i n g t o the a p p a r a t u s rath-

destinations at precisely the s a m e time. This

is

movements,

important but

it

is

er

in developing graceful even

more

than

to

particularly

the audience.

not

of

the

is

and

habit

cause them to vanish, etc. T h e m o v e m e n t of

a greater

apparatus

the

to

hands

the

develop

"playing"

true

to

the

in

the

Slydini's magic is

a l m o s t exactly the o p p o s i t e . Usually he has a

important

s p e c t a t o r f r o m the a u d i e n c e sit b e s i d e h i m a t

when one hand m u s t perform a secret action.

the 15

table

to

act

as an impromptu assistant.

B u t n o t e that since this s p e c t a t o r is from the

manly,

a u d i e n c e he is in a real s e n s e a r e p r e s e n t a t i v e

ways accompanied by an impish smile. There

of the audience, a n d in playing to h i m , Sly-

is no off-color h u m o r , no trace of ego or arro-

dini is also p l a y i n g to the a u d i e n c e .

gance

It is b e c a u s e his w o r k involves s p e c t a t o r

his

humor

because

good

none

is

natured,

almost

required.

al-

Slydini's

magic has a devastating effect on audiences,

participation that Slydini insists on the impor-

and thus speaks eloquently

tance of p r o p e r patter. If the w o r d s or patter

following pages,

suggestions

are r e v e a l e d , the r e a d e r will b e g i n to u n d e r -

i n t h i s b o o k d o n ' t fit y o u r o w n

style, change them, m a k e them appropriate to

as

the

for itself.

In the

underlying concepts

stand why.

y o u r m a n n e r a n d p e r s o n a l i t y . S t r i v e for s o m e interaction with

the

audience in a h u m o r o u s

manner.

This

you

communicating

are

makes

the

audience with

feel

To Conclude

that

them. Even if It

y o u are p e r f o r m i n g a trick with an assistant

should

be

apparent

from

these

early

spectator, y o u can arrange h u m o r o u s asides to

pages that Slydini has spent long hours ana-

t h e a u d i e n c e — h u m o r t h a t i s not a t t h e s p e c t a -

lyzing every

t o r ' s e x p e n s e o r that m a k e s h i m feel foolish—

s e e m i n g l y small incidentals like facial e x p r e s -

to m a k e the audience

sions to the structure of techniques and whole

feel that t h e y are per-

routines.

sonally involved in the p e r f o r m a n c e .

detail of Close-Up Magic, from

T h e a p p a r e n t c a s u a l n e s s o f his ap-

Slydini does not speak fluent English so

p e a r a n c e at the close-up table is thus seen for

he is m o r e a listener a n d observer than a talk-

w h a t it really is, the r e l a x e d p o s t u r e of a m a n

er. B y o b s e r v i n g o t h e r s , h o w e v e r , h e h a s d e -

who

veloped

specialty,

theories

of

psychology

as

to how

knows

all

the

there

is

to

know

about

his

master close-up artist in c o m -

others b e h a v e , a n d this has h e l p e d in develop-

plete charge of the situation, ready to manip-

ing his

ulate the m i n d s of the s p e c t a t o r s as easily as

own

theories regarding magic. When

performing, his m a n n e r is s o f t - s p o k e n , gentle-

h e m a n i p u l a t e s the a p p a r a t u s b e f o r e h i m .

2

Easy Routines and Moves OST magicians ing their

paratus, patter,

seem

remember perform-

first

inappropriate

easy

trick, a n d w h a t they

tricks,

in

that

a

chapter d e v o t e d to

is

precisely

the point;

r e m e m b e r m o s t strongly is a feeling

using the Slydini technique, sleeving b e c o m e s

of a w k w a r d n e s s in handling the ap-

so easy y o u wonder w h y y o u didn't think of

the and

audience, the

the

method

presentation, the

all

at

once.

the technique yourself.

Like a

The

j u g g l e r k e e p i n g s i x o b j e c t s i n t h e air all a t t h e

and

s a m e time, it s e e m e d an impossible feat. B u t

Again

if

natural

the

but

magician

continued

to

practice

and

chapter closes with

Slydini's the

technique

emphasis

is

movements

the Direct Palm

for on

the ease

replacing

Mock

Pass.

of handling, complicated

w o r k with live a u d i e n c e s , he b e g a n to realize

sleights, the essence of Slydini's a p p r o a c h and

that it was possible to m a k e the trick w o r k

philosophy on magic.

smoothly; even m o r e fle,

amuse,

a m a z i n g , h e c o u l d baf-

a n d entertain the audience at the

same time. Sightless Vision

In the s a m e w a y the m a g i c i a n w h o decides t o m a k e a s e r i o u s s t u d y o f c l o s e - u p m a g i c will find a t first t h a t h e m a y

not be completely

This is the effect of divining the n a m e of a

a c c u s t o m e d to the setting or performing con-

chosen

ditions. When trying to m a s t e r the m a g i c of

back.

someone

known,

further

of

Slydini's

discovers

that

legendary

stature,

he must put

he

a s i d e all

are

card

while

Although Slydini's

such

the

the

deck

basic

handling

that it is

is

behind your

method and

impossible

is

well

presentation for

anyone-

that he has previously learned and start from

magicians included—to divine exactly w h a t he

the beginning b e c a u s e S l y d i n i ' s m a g i c is like

is doing. To the average l a y m a n it l o o k s as if

no other.

Slydini can genuinely reveal the n a m e of the chosen

This chapter is intended as an easy introduction tricks,

to

Slydini's

for

example,

working.

are

The

very

first

three

nearly

self-

card

while

the

cards are c o m p l e t e l y

out of sight. 1. Begin by having the

spectator shuffle

that in each of them Sly-

his

own

dini is teaching the s t u d e n t h o w to extract as

the

d e c k i n y o u r left h a n d . Y o u are s t a n d i n g

much

at this p o i n t , facing the s p e c t a t o r . It is also

that

But note

magic.

dramatic effect as possible from tricks are

basically

quite

simple.

The

inter-

here;

in

each

of

the

first

T h e n have the spectator place

a s s u m e d that there is no one b e h i n d y o u for

a c t i o n b e t w e e n m a g i c i a n a n d s p e c t a t o r i s allimportant

deck.

this trick.

three

2 . S a y , " I s i t p o s s i b l e i n a n y w a y for m e

tricks the spectator is led to believe that he is

to k n o w the identity of any c a r d at this p o i n t

w i t n e s s i n g a m i r a c l e . I t i s all b u i l d - u p a n d p s y -

or see any card with the deck held like t h i s ? "

chology, handling the spectator in such a w a y

3. S p e c t a t o r says, no. Put b o t h hands be-

that he is first m a d e to r e c o g n i z e the i m p o s s i -

hind

bility

n o w ? " Spectator says, no.

of

what

the

magician

is

attempting;

then he witnesses the dramatic realization of

back.

4. Turn

the i m p o s s i b l e .

so

Say,

"Can

I

see

any

card

y o u r b a c k (and the d e c k ) is

t o w a r d the audience. S a y , " C a n I see a n y t h i n g

F o l l o w i n g these s i m p l e tricks are S l y d i n i ' s

n o w ? " A g a i n the spectator s a y s , no.

observations on P s y c h o l o g y , which lead naturally

the

5. F a c e the spectator again. S a y , "I want

to the d e v e l o p m e n t of the S w e e p Tech-

you to take any card y o u want and outjog it

nique. Slydini's observations on Sleeving m a y

about halfway 17

from

the

d e c k . With the c a r d

o u t j o g g e d f r o m the center of the d e c k I w a n t

after d o i n g the trick, y o u can d r o p the c h o s e n

you

t o lift u p

card into the lap. T h e trick can, of course, be

and

see w h a t the card i s . " A s y o u say this,

the i n d e x corner of the

card

r e p e a t e d . W h e n S l y d i n i r e p e a t s it,

suit actions to y o u r w o r d s . 6. N o w turn Place both hand

the effect

b e c o m e s m o r e baffling each time.

your back

to the audience.

h a n d s b e h i n d the b a c k . T h e right

loosely

g r a s p s the left wrist. H a v e the Mongolian Clock

s p e c t a t o r r e m o v e a c a r d a n d insert it into the center of the deck in an outjogged condition.

T h e principle b e h i n d this trick is q u i t e o l d

T h e n he l o o k s at the face of the card.

but Slydini's handling m a k e s it a perfect m y s -

7. S a y , " C a n I see y o u r c a r d ? " S p e c t a t o r says,

no.

Turn

tery.

and face the spectator. A s k ,

The

trick

is

simple from beginning to

" C a n I see it n o w ? " A g a i n the spectator says,

end, requiring no sleight of hand, y e t it p a c k s

no.

a terrific w a l l o p with l a y m e n . 8. Say,

1. First, a s t a n d a r d c l o c k l a y o u t is p l a c e d

" I ' m g o i n g t o try t o guess y o u r

c a r d . " A s y o u s p e a k , the right h a n d side j o g s the

on

chosen

off the index corner.

D i a m o n d s plus the A c e of Clubs (to represent

pull

eleven)

The

card

left

a n d tears

fingers

then

the

chosen

card

the

table and

using

the A c e through T e n of

the T w o of Clubs

(to represent

f l u s h w i t h t h e d e c k ( b u t still o u t j o g g e d ) . T h e

twelve). Place the A c e of S p a d e s in the center

torn corner is p a l m e d at the lowest j o i n t of

of the l a y o u t . All cards are face-up. 2. Once

the right m i d d l e finger. the

9. N o w turn and face the spectator. S a y , " T h e card is

the

spectator,

layout

"What

has

been made,

does

this

remind

ask you

o f ? " H e will r e p l y t h a t i t l o o k s like a c l o c k -

the . . . ah, let's see n o w . . . . " first

f a c e . C o n g r a t u l a t e h i m o n his a s t u t e n e s s , then

finger. T h e m i d d l e finger is c u r l e d i n w a r d a n d

say, " T h i s is n o t a regular clock. T h i s is called

Point

to

the

completely

spectator

hides

10. Do

the

with

torn

the

right

"The Mongolian Clock." I don't know if y o u

corner from view.

k n o w the

not l o o k a t o r g l i m p s e t h e i n d i c e

o f t h e s t o l e n c o r n e r a t this p o i n t . T h e o b j e c t

centuries

of the handling at this p o i n t is audience

that

right h a n d

on the right, hand,

and

I n s t e a d they carried with t h e m a little p a c k e t of cards in their p o c k e t . Whenever they want-

even be s w u n g to a s p e c t a t o r

ed to see the time, they spread the cards and

palmed

corner

c o u l d tell y o u t h e t i m e . "

of the right

will

be

3.

com-

your

back

to

spectator

looks

at

Give it to

the M o n g o l i a n s . "

the spectator as

4. S a y , "I want y o u to think of an hour

y o u s a y , " L o o k a t the c a r d o n c e m o r e . " While the

" W h e n I get t h r o u g h w i t h this d e m o n -

stration, please, I w a n t no credit.

pletely concealed. 11. Turn

or clock.

to s h o w the

exposing the p a l m

the

of the Mongolians, b u t for

right h a n d is e m p t y . T h e

the

can

history

they never u s e d a watch

from one t o twelve. D o y o u have o n e ? " S p e c -

the c h o s e n card, the

stolen indice corner is g l i m p s e d a n d the right

tator says, y e s . S a y , " D o y o u think I c o u l d

h a n d d i s p o s e s of this corner by slipping it into

know

your

the shirt (at the o p e n i n g in front of the shirt).

Would

it

12. Turn eyes

closed.

and

face

Open

the

the

spectator,

eyes,

hour

your

be

from

thought-of possible your

number

that

mind

I

and

already?

could put

take the it

in

mind?"

then n a m e the

5. The

chosen card.

spectator

says,

no.

You

reply,

" B u t the M o n g o l i a n s can d o i t . " Pick u p the

1 3 . B r i n g the left h a n d o u t . T h e left h a n d tilts t h e d e c k u p s o the s p e c t a t o r c a n s e e the

Ace

face of the outjogged card.

of Spades

Clubs,

then

and

place

place these

two cards onto the

Ace

of

by the m o s t convenient means possible. Sly-

Ten

of

dini

counter-clockwise) as y o u gather the cards.

will

squares

get

rid of the

as

he

it into the p a c k , and then drop

sometimes

steal

the

stolen card into the jacket.

the

card

Clubs; then these

it on the T w o of

torn-corner card

14. Y o u

my

Diamonds.

6. When

the

three go o n t o the

Proceed

packet

has

backwards been

(or

gathered,

turn it face d o w n a n d p l a c e the b a l a n c e of the

If y o u sit d o w n 18

c a r d is in c o n t a c t w i t h the right little finger.

d e c k o n t o p o f it. S a y , " I ' m n o t g o i n g t o l o o k at the cards a n y m o r e . I want y o u to place the deck under the

table.

cards

top

from

the

of

thought-of number.

15. The

Then remove as many the

Place

deck as in your

these

tle finger. N o w a s k the s p e c t a t o r t o n a m e the

cards on the

thought-of

b o t t o m of the deck. D o n ' t m a k e any noise as

hand

y o u c o u n t the cards off the t o p . "

g l i m p s e its

the b o t t o m

of the

deck.

hour.

He

says,

up

the

tabled

picks

Four.

The

right

card

and

you

face without letting the spectator

s e e it.

7. S p e c t a t o r m a y be thinking of four. He c o u n t s four cards o f f the t o p a n d p l a c e s these four onto

left h a n d p u s h e s t h e o t h e r c a r d s

a w a y f r o m t h e c a r d " c a u g h t " b y t h e r i g h t lit-

16. A c t disappointed. S a y , " N o , it can't

Then he

b e . " T h e n flip the c a r d f a c e - u p t o s h o w t h a t i t

h a n d s y o u the deck.

is a F o u r !

8. H o l d the d e c k f r o m a b o v e in the right h a n d . T h e left h a n d t a k e s single c a r d s o f f the bottom

and

table.

The

points

on

tosses

them

cards

are

the

table

face-down o n t o the

scattered

as y o u

at

toss

random

I m p r o m p t u Miracle

them. The

f o u r t e e n t h c a r d y o u d e a l will h a v e a v a l u e c o r -

S p e c t a t o r shuffles a n d cuts his o w n deck,

responding to the spectator's thought-of n u m -

and places it face-down on the table. T h e ma-

ber.

gician says, "I d o n ' t want to see any cards on 9. When

you

deal

the

spectator's

card,

the

top,

bottom,

or

anywhere

else.

I don't

don't hesitate; just toss it out and remember

e v e n w a n t t o l o o k a t t h e d e c k w h i l e y o u shuf-

where it goes on the table. Continue dealing

fle."

until the entire d e c k is scattered on the table. 10. At

this

hands, palms and scatters

point

down,

Slydini

drops

H a v e the s p e c t a t o r cut the d e c k into t w o

both

piles

onto the scattered cards

approximately

leeway

t h e m still m o r e . A l t h o u g h i t a p -

there

here

are

equal.

because

at

least

the

( Y o u have trick

twenty-one

will

some

work

cards

if

in each

pears a h a p h a z a r d scattering, he k e e p s his eye

packet.

on the s p e c t a t o r ' s card. In the e x a m p l e given

shallow,

above,

pile so I h a v e e n o u g h c a r d s for this d e m o n -

this

w o u l d be the c a r d with the value

four.

However, say,

if

"Put

the

spectator

cuts

too

s o m e m o r e on the small

stration.")

11. Look

for

a bunch

Have him

of cards. Spread der

"Here

i n the p a c k e t . S a y there are t w e n t y - t w o c a r d s

it

is."

Without looking

p u s h it b a c k under the

at

this

other cards

card,

and say,

the

t a k e either p a c k e t , p l a c e it un-

them a bit, draw out the b o t t o m one and say,

table a n d c o u n t the n u m b e r of cards

in the selected p a c k e t .

" N o . That's not it."

T h e p a c k e t remains o u t o f sight u n d e r the more

table.

c a r d s in this fashion. F i n a l l y , o p e n the h a n d s

cards

you h a v e ? " Spectator says, yes.

palm-out

"The

number

12. Continue

cards. the

and

with

drop

three

them

or

onto

four the

tabled

T h e right little finger directly c o n t a c t s spectator's

card.

The

Other

Say,

Instruct gether.

tact any random cards.

turn

hands

now

slide

the

you

must

remember how

many Say,

have t w o digits, r i g h t ? "

T h e spectator again says, yes.

fingers,

stretched so they are spread w i d e apart, con-

13. Both

"Do

cards

the

cards

a r o u n d r a n d o m l y on the table. It a p p e a r s as if

him

When as

he

to has

add

the

done

two

this,

digits

to-

tell h i m

to

packet face-up, count off as many the

sum

o f t h e t w o d i g i t s , a n d re-

m e m b e r the last card. He d o e s n o t reverse the

y o u are h o p e l e s s l y m i x i n g the c a r d s , b u t the

order of the cards. In our e x a m p l e , since he

s p e c t a t o r ' s c a r d s t a y s in firm c o n t a c t with the

holds

right fourth finger.

two

twenty-two cards, he would add these digits

together,

getting

two

plus

two

left h a n d raises so it is

equals four. He then turns the p a c k e t face-up

a w a y from the table. T h e right h a n d begins to

a n d r e m e m b e r s the fourth card from the face.

14. Finally, move

in

the

a zig-zag manner,

sliding

over the

He squares the p a c k e t a n d places it face-

scattered cards until it is in front of y o u . A

down 19

on

top

of

the

deck.

Then

have

him

square the deck and place

A Note

the d e c k b a c k o n

the table. T h e three tricks j u s t d e s c r i b e d are s i m p l e ,

T a k e the d e c k f r o m h i m . S a y , " U p t o this point

it's

as

i m p r o m p t u card tricks that require no sleights

if I j u s t w a l k e d into the r o o m cards from start to

o r p r e p a r a t i o n . N o d o u b t the reader k n o w s o r

finish a n d after carefully b u r y i n g y o u r c a r d i n

has seen the basic effects p e r f o r m e d , b u t note

the

t h a t i n S l y d i n i ' s h a n d s t h e t r i c k s a r e not p r e -

because you handled

the

deck you asked me to

Place the deck on remember, you

you

chose

the table and add,

shuffled

either

find y o u r c a r d . "

and

packet,

cut

you

the

sented as self-working. T h e o u t c o m e seems in

"Now

d o u b t ; the audience is m a d e aware of the im-

cards,

counted

possibility

the

of trickery

a n d the stringent test

only y o u k n o w the n a m e o f y o u r

conditions i m p o s e d by the magician. T h e con-

c a r d . If I f o u n d y o u r c a r d at this p o i n t , d o n ' t

clusion of each routine is delayed to heighten

cards,

and

y o u think it would be a m i r a c l e ? " T h e specta-

a u d i e n c e a t t e n t i o n . T h e e n d result i s that ele-

tor m u s t agree.

m e n t a r y card tricks have been elevated to the

S p r e a d the

deck

out

table in a wide spread. lowers

his h e a d to

miracle class.

f a c e - d o w n o n t o the At this p o i n t S l y d i n i

the level

of the table top

and pretends to study the cards as if l o o k i n g Psychology—Too G o o d to Be True

for a c r i m p . T h e n h e s t r a i g h t e n s u p a n d p u l l s o u t a n y card. H e s a y s , " N o , this c a n ' t b e it,"

A typical situation: the magician pretends

a n d returns the card to the s p r e a d . to

L o w e r y o u r h e a d as y o u study the deck.

a coin

into

his

left h a n d , actually

l a p p i n g it with the right h a n d . T h e left h a n d

This allows y o u to c o u n t from the top of the

c l o s e s a s i f i t h e l d the c o i n . T h e n the left h a n d

deck with y o u r eyes, but m a k e s it impossible for the s p e c t a t o r t o

place

immediately opens to show the coin is gone.

see where y o u r eyes are

T h e right h a n d then o p e n s ; the coin has c o m -

looking. Y o u visually c o u n t to the tenth card

pletely vanished. S o u n d s g o o d , b u t in fact it's

from the t o p a n d pull it out of the s p r e a d so

t o o g o o d t o b e true. T h e audience k n o w s y o u

it is jogged back toward you. A l m o s t i m m e d i a t e l y the right h a n d m o v e s

could

not

literally

fore,

they

reason,

vaporize you

must

the coin; therehave

somehow

to a p o s i t i o n near the right e n d of the s p r e a d

g o t t e n r i d o f t h e c o i n — e i t h e r b y t o s s i n g i t in-

as y o u say, " N o , I think it's d o w n h e r e . "

to the sleeve or by d r o p p i n g it into the lap.

Now

lower

your

head

and

count

nine

Let's

m o r e from the j o g g e d card that is tenth from the

top. T h e nineteenth card from the t o p is

his

c a r d . Pull it o u t of the s p r e a d a b o u t an

from

back

a "cause

up

and

l o o k at the handling

and effect" point of view. If

the effect (the vanish of the coin) follows t o o s o o n after the cause (the secret l a p p i n g of the

inch, b u t again shake y o u r head and say, " N o ,

coin), y o u have inadvertantly led the audience

it's n o t that o n e . "

right to the d o o r s t e p of the m e t h o d . To say it

A g a i n s t u d y t h e s p r e a d a n d t a k e o u t an-

another way,

other card near the b o t t o m . Push it b a c k in as

the

a u d i e n c e d o e s n o t h a v e far

to backtrack to get from effect to m e t h o d .

y o u again shake y o u r head.

Far better

Pull t h e n i n e t e e n t h c a r d o u t a n d i m m e d i -

this p l a n :

pretend to drop

coin

ately close up the deck. Push the deck t o w a r d

and

then l a p p i n g it with the right h a n d . T h e

the

left h a n d c l o s e s as if t a k i n g the c o i n . T h e right

spectator

with

the

left

h a n d . T h e right

into

is

the

hand holds the spectator's card. S a y , "It m u s t

hand waves

be this one h e r e . "

palm-up.

need the others.

What was y o u r c a r d ? " T h e

spectator

it.

names

Shake

your

head,

over the left. T u r n the left h a n d

Wave

hand again.

S a y , " I f this isn't y o u r c a r d , I ' m g o i n g t o

the left h a n d , a c t u a l l y p a l m i n g

the

Open

right

hand

over the left

the left h a n d , s h o w i n g the

coin i s g o n e . D o n o t s h o w the right h a n d yet. I n s t e a d , w a v e it over the left h a n d as the left

say,

" N o , i m p o s s i b l e , " then turn over the selected

hand

c a r d s o i t falls face-up o n t o the t a b l e .

again to show that the coin is " r e a l l y " gone. 20

turns

palm-down

and

then

palm-up

At

this

point

the

audience

will

assume

S t u d y F i g u r e 3 a n d y o u will s e e a n i m p o s -

that the coin is actually h i d d e n in the right

sible

hand.

are s u p p o s e d t o b e h o l d i n g the coin, b u t n o t e

This

follows

from

the

fact

that y o u

haven't shown

the p a l m of the right h a n d to

them. Thus by

d e l a y i n g the c o m p l e t e vanish

situation.

that

the

T h e right t h u m b a n d fingers

right

thumb

is

nowhere

near

the

point where the coin is s u p p o s e d to be. If y o u

of the coin, y o u are allowing the s p e c t a t o r s

w a n t the

t i m e t o b u i l d u p a n d re-focus their o w n c a u s e

hand actually

and effect relationship; they k n o w or strongly

you

s u s p e c t a t this p o i n t t h a t the c o i n m u s t b e i n

hand

can't

the right h a n d . A l s o , b y this t i m e y o u have

coin

because

m a d e so m a n y m o v e s with the hands that the

thumb

a u d i e n c e h a s s t r a y e d far f r o m the true c a u s e

r i g h t h a n d d i r e c t l y back t o t a k e t h e c o i n , y o u

behind the vanish

are p e r f o r m i n g an u n n a t u r a l a c t i o n . It is ac-

one avenue

of the coin. There is only

o p e n t o t h e m ; t h e c o i n must b e i n

It

is

are

to believe

that the right

t o o k the coin from

the table,

a s k i n g for the i m p o s s i b l e ; the right possibly have

and

tually

the right h a n d .

spectators

the

coin

fingers.

more

possession

is

Also,

difficult

of the

not held between by

s w e e p i n g the

to pick up

a c o i n this

w a y than in the m o r e natural w a y a b o u t to be

only

at

described.

this p o i n t that y o u s l o w l y

Slydini's " S w e e p T e c h n i q u e " puts across

o p e n the right h a n d , p a l m of the h a n d to the audience,

to

show

vanished.

By

r e m o v i n g the

a totally c o n v i n c i n g illusion that the coin is

that the c o i n has i n d e e d

actually

m e t h o d from the

being picked u p . T h e starting posi-

effect—in o t h e r w o r d s , b y d e l a y i n g the revela-

tion is s h o w n in Figure 4. T h e right h a n d is to

t i o n t h a t t h e c o i n i s c o m p l e t e l y g o n e — y o u al-

the

l o w t i m e for s u s p i c i o n t o b u i l d . T h e n , w h e n i t

s w e e p s to the left in an arc, F i g u r e s 5 a n d 6,

right

of

the

is t o o late for the a u d i e n c e to b a c k t r a c k , y o u

contacting

d e m o l i s h all

N o t e in F i g u r e

true

suspicion.

deception

in

the

ence.

They

don't

ished,

so

follows

it

This is the secret to handling of the

k n o w when

the

the

coin.

coin

The

as

right

h a n d then

shown in

Figure

7.

7 t h a t t h e right first finger is

slightly raised. T h e right s e c o n d finger actual-

audi-

ly c o m e s into c o n t a c t with the coin.

c o i n van-

T h e right s e c o n d finger p u s h e s the coin to

automatically that they

the e d g e o f the t a b l e . T h e first finger m o v e s

c a n n o t p o s s i b l y k n o w how i t v a n i s h e d .

to

a position

over

the

coin

to

conceal

the

m o v e y o u are a b o u t t o enact. A s s o o n a s the coin clears the table it drops into the lap an d

The Sweep Technique

the right h a n d s t o p s at the p o s i t i o n i n d i c a t e d in F i g u r e 8. T h e r e a s o n for s t o p p i n g at this

Often in p e r f o r m i n g a m o v e like the simulated pick-up cians

will

point

of a coin from the table, magi-

unconsciously

perform

an

with

action

is

so

y o u c a n c o m p a r e your h a n d l i n g

that indicated in Figure 8 to be certain

the p o s i t i o n of the right h a n d m a t c h e s that of

that w o u l d actually b e i m p o s s i b l e t o d o i f performed honestly. One striking e x a m p l e occurs

Slydini's.

in the s i t u a t i o n where it is desired to t a k e a

not stop; the sweeping m o t i o n is done in one

coin from the table a n d lap the coin as the

continuous action.

h a n d is raised from the table.

In

actual

performance

you would

At this p o i n t the right t h u m b m o v e s so as to c o n t a c t the right s e c o n d finger, as if it were

T h e a c c e p t e d ( a n d w r o n g ) w a y t o d o this i s s h o w n i n the first t w o p h o t o s . T h e s t a r t i n g

in

p o s i t i o n is indicated in Figure 2. A coin rests

then m o v e s up away from the table to display

on

the

the

table

a n d the performer is a b o u t to

fact

contacting the

coin. T h e right h a n d

coin, Figures 9 and

Slydini's

moves

leans forward slightly, Figure

to

a position

directly in front of the

coin. T h e n , in Figure 3, the right h a n d m o v e s

attention

to

10. Consistent with

p i c k it up with the right hand. T h e right h a n d

convincing detail,

he

10, to empha-

size that the c o i n is actually in the right h a n d .

d i r e c t l y b a c k , t a k i n g t h e c o i n w i t h it. A s s o o n

Although the S w e e p Technique has been

as t h e c o i n clears t h e t a b l e it falls i n t o t h e l a p .

described here as a series of separate actions,

I t s h o u l d fall s e c r e t l y i n t o t h e l a p , b u t s o m e -

it should be u n d e r s t o o d that the " s w e e p " is a

thing is wrong.

continuous, smooth action. 21

So perfect is the

illusion in Slydini's hands that on m a n y occa-

the right j a c k e t sleeve is aligned as s h o w n in

sions he has been requested by magicians to

Figure

perform

properly

this t e c h n i q u e

over and over again,

16,

exactly

receive

the

the

way it should be to

coin. As s i m p l e as this

j u s t so they c a n witness the flawless illusion

alteration in handling is, it is one of the m o s t

he creates.

important elements in sleeving technique. T h e other i m p o r t a n t p o i n t involves the actual " t o s s " o f the coin. M o s t m a g i c i a n s bring the

left

short. Although Slydini no longer uses sleeving in his

work,

he

and

right

sweeping motion.

Sleeving

methods

hand

has

The

coin

The is

hand

together

left h a n d

in a

then stops

propelled by m o m e n t u m

a n d flies i n t o t h e right j a c k e t s l e e v e . T h i s i s

carefully ana-

the

way

most

magicians

perform

the

move

l y z e d the basic technique of sleeving. In the

a n d unfortunately it is wrong, a n d w o r s e , a

process

direct tip-off that y o u are sleeving the c o i n .

he

discovered

why

so

many people

have t r o u b l e w i t h sleeving: w h y , for e x a m p l e ,

Slydini's

the coin invariably m i s s e s the sleeve, a n d w h y the

move

is

tipped

does not involve the Although

successfully

the left h a n d naturally m o v e s t o w a r d the right h a n d , it m o v e s slowly a n d a distance of only a

is

few inches.

the price of this b o o k . By a

simple

alteration

makes

it possible

quickly

when

technique

o f t h e left h a n d a t all.

p e r f o r m e d . T h e secret y o u are a b o u t t o learn itself worth

even

movement

acquire

in

the

for

a

handling,

even

smooth

the

The

key

to

the

sleeving of the

Slydini

coin involves the right h a n d only. As the right

beginner to

h a n d m o v e s t o the left a n d over the left h a n d ,

surefire

sleeving

it

technique.

comes

to

a sudden

stop

against

the

left

t h u m b , Figure 1 7 . It actually hits against the to

left t h u m b . T h e s u d d e n s t o p o f the right h a n d

sleeve a coin. T h e coin is h e l d in the left h a n d .

c a u s e s its m o m e n t u m t o b e transferred t o the

The

coin. T h e coin is thus p r o p e l l e d to the right

First

we'll

describe

the

wrong

way

right h a n d rests a t the side, F i g u r e

T h e right h a n d coin,

Figure

11.

a n d into the right j a c k e t sleeve. N o t e that the

then raises a n d p o i n t s to the

12.

This is the

left

standard move

hand

is

nowhere

near the

right j a c k e t

preparatory to sleeving a coin but already the

sleeve w h e n the actual sleeving of the c o i n is

performer is in serious trouble. Refer to Fig-

performed. To complete the action,

ure

h a n d c l o s e s i n t o a l o o s e fist as the right h a n d

1 3 ; this is an e n d view s h o w i n g the right

j a c k e t sleeve. N o t e that the sleeve o p e n i n g is

moves away,

canted

completely

p a l m up a n d w a v e the right h a n d over the left

the p r o p e r p o s i t i o n to a c c e p t the

h a n d again as if fanning the right h a n d over

away

or

from

angled

to

the

right,

coin. What m o s t performers right

hand

moves

from

the

a n d s h o w the coin has vanished. The important motion

position of

begins when y o u point

Figure 11 to that of Figure 1 2 . in

1 8 . T u r n the right h a n d

the c l o s e d left h a n d , then o p e n the left h a n d

do not know is

that this situation a u t o m a t i c a l l y results w h e n the

Figure

the left

of the

to the

right h a n d

spectator and

N o w let's start over again. T h e h a n d s are

s a y , " N o w w a t c h . " T h e right h a n d s w e e p s to-

the

ward

position

indicated in Figure

right h a n d d r o p s t o

14. The

the

left,

the side. T h e right h a n d

inward slightly. This wrist turn

thus

action is indicated in Figure 1 5 . It is only at

hand

this p o i n t that the right h a n d m o v e s u p . B u t

cians believe.

now

swivels

note

that it w o u l d be

c o n t a c t s the left t h u m b ,

and

then m o v e s b a c k . T h e sleeving of the coin is caused

by

the

movement

of

the

right

a n d n o t by the left h a n d as m o s t m a g i -

a w k w a r d to m o v e the

right h a n d directly to the left from the position of Figure

1 5 . T h e r e f o r e , the right h a n d The Sleeving Switch

points to the spectator as s h o w n in Figure 16 as y o u say, " N o w watch." An

T h e right h a n d n o w swings to the left. All appears

to be unchanged but note

extension

of the b a s i c sleeving tech-

nique has been used by Slydini to switch one

that now 22

o b j e c t for a n o t h e r . Y o u b e g i n w i t h a n o b j e c t

the

in the right j a c k e t sleeve. When the right h a n d

tion.

drops

throwing m o t i o n as it apparently deposits the

to

the

side the

object drops into the

The

5.

N o w when y o u sleeve the coin as already the

slips into a l o o s e t h u m b - p a l m posiright

hand

meanwhile

makes

a

ball i n t o the left h a n d .

right p a l m , Figure 1 9 . explained,

ball

right

T h e left h a n d closes as if it contains

hand d r o p s the p a l m e d

the ball, Figure 2 4 . N o t e in Figure 25 that the

palm

left

palm

left h a n d c l o s e s as if it actually held the ball,

is

later

in o t h e r w o r d s , the left fingers are n o t c l o s e d

opened, Figure 2 0 , n o t only is the coin gone,

into a tight fist, b u t are l o o s e l y c l o s e d a r o u n d

object

into

closes.

the

Thus

left

when

the

as

the

left

hand

it has c h a n g e d i n t o a n o t h e r o b j e c t , in this c a s e

the imaginary ball. This c o m p l e t e s the direct

a ring.

palm.

A Direct Palm

Checkpoints

F o r those w h o want the correct handling

(A) There is

for a direct p a l m of an o b j e c t , here is S l y d i n i ' s method.

Assume

a ball

is

the

object

diately c o m p l e t e the p a l m that was started in

to be

F i g u r e 2 2 . T h e logic s e e m s right b e c a u s e the

palmed.

ball is very nearly in a c o m p l e t e t h u m b - p a l m

1. S t a r t by d i s p l a y i n g the ball in the right hand

as

ball

is

shown held

at

position

anyway.

much

the

t h u m b , m o v e m e n t that i s n o t p a r t o f the nat-

fingertips,

providing

the

movement

s p e c t a t o r s with the fullest p o s s i b l e view of the

ural

right t e m p o

action

2 . A n y m o v e m e n t o f the right fingers be-

practice

fore p a l m i n g the ball m u s t be absolutely natu-

without

ral.

words,

Thus

it

is

into

not

the

B u t this w o u l d require t o o

in Figure 2 1 . N o t e that the

ball a n d the otherwise e m p t y h a n d .

fingers

a strong tendency to i m m e -

correct to curl

right

palm

the right

a t this p o i n t t o

the

of

of

the

the

right

fingers

and

handling. To acquire the

and handling it is imperative to

taking

an object into

attempting

to

the left h a n d

palm

it.

In

other

simply pick up any small object with

right h a n d , arc the h a n d b a c k a n d gently

bring the ball to the p a l m e d position. There is

toss the o b j e c t into the left h a n d . This is the

no

way

natural

reason

for

the

right

fingers

to

m o v e ; i f t h e y m o v e , y o u i m m e d i a t e l y c a l l attention

to

Slydini

developed a logical and natural hand-

ling that palm the

the right h a n d . With this in m i n d ,

(B) The other

w o u l d allow h i m to p r e p a r e for the

without focusing audience attention on the

right

hand

back

to

the

curl the

ball

inward. back

position

This

allows the base

you

to

success

action

is

that

in there

this

or any

can be no

of the t h u m b or fingers w h e n the T h e r e f o r e , w h e n the right

the h a n d itself has m o m e n t a r i l y order

toward

act when performing the

h a n d reaches the top of the arc in Figure 2 2 ,

3. N o t e in Figure 22 that the right fingers bring

key

h a n d i t s e l f i s still.

shown in Figure 2 2 .

naturally

secret

movement

right h a n d . T h e a p p r o a c h is to gracefully

bring

t h e h a n d s must

Direct Palm.

to

complete

the

stopped.

thumb-palm

at

In this

p o i n t w o u l d m e a n m o v i n g the r i g h t fingers o r

to

thumb.

of the

This

would be a complete giveaway

that s o m e m o v e was being performed. This is

right t h u m b in the first s t e p of w h a t will be a

why

p a l m i n g m a n e u v e r . B u t the i m p o r t a n t p o i n t is

the t h u m b - p a l m m u s t be d e l a y e d a fraction of

that y o u

have

Slydini

teaches

that the c o m p l e t i o n

of

m a d e no unnatural movement

a s e c o n d , so that it is a c c o m p l i s h e d w h e n the

with the right h a n d ; the right h a n d has s i m p l y

right h a n d m o v e s naturally t o w a r d the left in

m o v e d b a c k in a preparatory gesture to toss

a throwing motion.

the ball i n t o the left h a n d .

(C) T h e deceptiveness of the Slydini Di-

4. N o w , as the right h a n d m o v e s forward

rect Palm

is

that the small m o v e m e n t of the

to d e p o s i t the ball i n t o the left h a n d , the right

palming

t h u m b moves out of the way, Figure 2 3 , and

w a r d to bring the ball to the p a l m p o s i t i o n ) is 23

action

(the

right

f i n g e r s c u r l i n g in-

covered

by

the

larger

motion

of

the

6. N o w

right

move

the

deck forward to

hand. N o t e also that the handling of the p a l m

s p e c t a t o r ' s right,

actually begins with the display of the ball by

replaced

the right h a n d . Y o u m u s t display the ball, a n d

the

then m o v e

s p e c t a t o r ' s h a n d at this time.

gracefully through

the steps

out-

near the center. N o t e in

crucial point 7. When

lined a b o v e to get the m o s t o u t of the illusion

the

F i g u r e 3 0 , to have his card that

the

Figure

d e c k i s above

30 the

the hands reach the position of

that a ball is b e i n g h o n e s t l y t o s s e d from right

Figure

hand

t o p c a r d o f i t s p a c k e t s o t h a t t h e s e c a r d s fall

left

t o left h a n d . hand

right

not

that when

the the

as a b l o c k o n t o the t o p of the deck. T h e right

begins to close as the

h a n d m o v e s t o the left a n d o u t o f the w a y a s

out

of the w a y , and never

s h o w n in the s e q u e n c e of Figures 31 a n d 3 2 .

over the right h a n d . T h e left

T h e s p e c t a t o r sees the b a c k of the right h a n d

right h a n d m o v e s hand closes

does

it

rather,

actually closes

also

it

closes

hand;

Note

3 0 , t h e r i g h t h a n d r e l e a s e s all b u t t h e

close

completely when

the

over

and the b a c k of the single card held by the

right h a n d

right

has m o v e d out of the w a y .

hand,

but

he

assumes

the

right

hand

holds half of the deck. N o t e that the b a c k of the

right

hand

screens

the

unloading

move

from the spectator's view. 8. N o t e also that the d e c k is raised to a

Slydini on the M o c k Pass

level

above

the s p e c t a t o r ' s right h a n d as the

T h e Bluff Pass or M o c k Pass, described as

d r o p is m a d e . T h e r e a s o n for this is that the

". . . an entirely n e w d e p a r t u r e in the w a y of

s p e c t a t o r m u s t r e a c h up to d e p o s i t his c a r d on

controlling

a

card"

in

Greater

Magic,

top of the deck in Figure 3 2 . This produces a

has

gained general a c c e p t a n c e in m a g i c circles. Al-

slight

though

the M o c k

have the card replaced a n d the actual m o m e n t

Pass b e c o m e s truly artistic w h e n the Slydini

of the r e p l a c e m e n t . T h i s split-second interval

generally

performed

well,

hesitation

between

your command

to

a p p r o a c h is applied. Slydini is the only magi-

gives y o u the n e c e s s a r y o p p o r t u n i t y t o u n l o a d

cian

to

does the M o c k

the t o p p a c k e t .

Pass

so

fools magicians

9. When

my

knowledge

deceptively

who

that

it

w h o k n o w the original Bluff Pass c o n c e p t . 1. F o r seated him

to

best

results

y o u r left.

choose

a card,

have

the

chosen card is replaced on

the left h a n d p a c k e t , the right h a n d slaps its

spectator

single c a r d o n t o

the

top

of the deck, Figure

F a n the deck and have

3 3 . T h i s p r o d u c e s a l o u d n o i s e , as if the right

F i g u r e 2 6 . W h e n h e re-

hand just replaced a block of about 26 cards

m o v e s a c a r d a n d l o o k s a t it, F i g u r e 2 7 , c l o s e

onto the

up the fan a n d square the deck. H o l d the d e c k

chosen

f a c e - d o w n in the left h a n d .

deck.

2. Say,

the

deck card

and seals the illusion that the

is

buried

in

the

center

of the

" D o you remember your card?"

M o v e the h a n d s c l o s e t o the b o d y . T h e right hand moves

to

a position

over the d e c k a n d

riffles the e n d s o f the c a r d s , F i g u r e 2 8 . 3. Say,

"I

want

you

to

put

your

Checkpoints card

a b o u t . . . a b o u t . . . ." D e l i b e r a t e l y h e s i t a t e as

( A ) In S t e p 7 the h a n d s p e r f o r m a slight

y o u r e p e a t e d l y riffle the e n d s o f the d e c k .

wrist-turn

to

the

left j u s t b e f o r e the d r o p o f

the b l o c k is m a d e . This action swings the b a c k

4 . T h e n s t o p the riffle a t a b o u t the m i d The hands,

of the right h a n d directly into the spectator's

which until this p o i n t have b e e n c l o s e to the

view, so that the m o v e is c o m p l e t e l y covered.

point

of

the

deck,

body, begin to move

Figure

29.

out toward the specta-

(B) The

tor.

timing

right

hand

h a n d s in the p o s i t i o n of Figure 30 so the spec-

and

above

tator can see that y o u have divided the deck

right h a n d m o v e s out of the w a y in Figure 31

at its m i d p o i n t .

and Figure

". . . a b o u t

here."

Freeze

the

24

say,

5 must be such

when

5. S a y ,

you

of Step

that

freezes the

". . . a b o u t

and

then

spectator's

here,"

moves

right

the

forward

hand.

Your

32 to allow the s p e c t a t o r the op-

portunity

to

easily

replace

his

card

" c e n t e r " of the deck. T h u s y o u seem

in

the

while in fact y o u are aligning the b a c k of the

to be

right

going out of your way to a c c o m m o d a t e him

hand

ception.

25

to

him

to

screen

the

actual de-

3

Basic Moves ITH

this

chapter

we

move

to

a

other classic of m a g i c , a n d is described in de-

m o r e s o p h i s t i c a t e d level o f S l y d i n i ' s magic. duce

tail i n C h a p t e r F i f t e e n .

A g a i n the intent is to intro-

the reader to basically simple The Fake Take

m o v e s . M o r e p r a c t i c e will b e r e q u i r e d t o m a s ter the F a k e T a k e a n d the F a k e D r o p , b u t the moves

are n o t difficult.

This m o v e is often e m p l o y e d in Slydini's

T h e diligent student

will f i n d t h a t p r a c t i c e a n d a t t e n t i o n t o d e t a i l

w o r k . T h e s u p r e m e e x a m p l e o f its l o g i c a l a p -

i s all i m p o r t a n t . T h i s l a t t e r p o i n t i s i n i t s e l f

plication is

essential. nothing

You to

will

find

that

chance,

that

every

in

the

"Miracle

One Coin Rou-

Slydini

leaves

t i n e " in Chapter Nine. What is described here

detail,

every

is n o t a trick p e r se b u t a detailed a c c o u n t of how

nuance, is analyzed with unvarying precision.

to

apparently

take

a coin in the m o s t

convincing m a n n e r possible. T h e plan here is Do not hesitate to use a three-fold mirror

the

when practicing these m o v e s . T a k e the m o v e s a step at a t i m e . L e a r n the s e q u e n c e of hand-

step

ling until the m o v e s feel n a t u r a l . I f y o u h a v e to you

stop

and

have

think

not

about

what

mastered

the

On

"better"

until

you

have

mastered

but

in

Slydini's

mind

approach

that y o u want before

Sly-

by

chapter

Slydini

concludes

grasp

to master

a principle

The

are

best

applied

to

are

seated

left

in

the

basic

starting

Referring to Figure 3 4 , the coin is flat p a l m

fingers p o i n t

o f the left h a n d .

a quarter turn

to the

right. N o t e that the left h a n d is t i p p e d slightly

to be rather obvious, b u t it defines the sharp

down

c o n t r a s t b e t w e e n the w r o n g a n d right w a y to

(fingers p o i n t i n g t o w a r d

provide m a x i m u m visibility

handle apparatus in situations when y o u want

the

table)

to

of the coin. T h e

b a c k of the left h a n d is a b o v e the e d g e of the

to u n l o a d a p a l m e d object. Its p r o p e r applica-

table, a n d the left h a n d is a b o u t three inches

tion can lead to stunning results.

above the tabletop.

O n e of these is the " S l y d i n i S w i t c h , " an switch

moves

displayed on the

calls " L e a v e a n d T a k e . " I t will

in-detectable

and how each

deliberately kept simple and

h o w these

1. Y o u

read in a straightforward way and m a y appear

absolutely

explaining why

s m o o t h , natural magic.

y o u begin experi-

with

step,

tines have b e e n

position. The

else-

u n c l u t t e r e d s o that the s t u d e n t will b e able t o

menting with alternate handlings.

that

routines

studying a n d practicing the simple routines in

suit y o u r o w n w a y of handling apparatus, keep

and

which these m o v e s are p u t t o u s e . T h e rou-

dini's technique. Certain details m a y be varied to

moves

a n d the F a k e D r o p , h e can test his m a s t e r y b y

k n o w a better w a y , h o l d off on the way

with

O n c e the student has m a s t e r e d the F a k e T a k e

the

other h a n d , if y o u think the m o v e s are s i m p l e and you

as

detail fits i n t o the c o m p l e t e m o v e o r r o u t i n e .

comes next,

move.

same

w h e r e i n this b o o k , t o c o n s t r u c t the h a n d l i n g

that

2. The

baffles

between

right h a n d n o w c o n t a c t s the coin

thumb

and

first

a n d s e c o n d finger,

even the e x p e r t s . S o v a l u a b l e i s this m o v e that

Figure 3 5 . This is an e x p o s e d view. T h e view

s o m e p e o p l e will p u r c h a s e this b o o k for this

from the front is s h o w n in Figure 3 6 . At no

one m o v e alone. It is a switch that uses the

time

do

" L e a v e and T a k e " concept, requires no cover,

The

right

absolutely

n o t h i n g b u t n a t u r a l a c t i o n s for its

out of the w a y in Figure 3 6 , the reason being

s u c c e s s , y e t it is c o m p l e t e l y i n v i s i b l e . It is cer-

that y o u want to display the coin with m a x i -

t a i n t o j o i n t h e m a n y S l y d i n i c r e a t i o n s a s an-

m u m visibility. 26

the

left

third

h a n d o r left fingers m o v e .

and

fourth fingers are curled

3. As

the

right h a n d h o l d s

crucial

the coin, the

point

is

that

the left

fingers do not

left h a n d n o w begins to turn. It turns slightly,

curl a r o u n d t h e c o i n at this p o i n t or, in fact,

only

do they m o v e

enough

to

conceal

audience's view,

Figure

the

coin

from

the

a t all. T h e left fingers r e m a i n

a b s o l u t e l y still i n S t e p 2 . T h e h a n d i t s e l f t u r n s

37. The psychology

here is important; if y o u were trying to conceal

slightly at the wrist, b u t only e n o u g h to con-

t h e coin in the left h a n d , it w o u l d o b v i o u s l y

ceal

fall t o t h e t a b l e a t t h i s p o i n t . S i n c e t h e c o i n

after the right h a n d m o v e s up with the sup-

does not

p o s e d c o i n that the left h a n d falls n a t u r a l l y t o

taken

fall t o t h e t a b l e , i t m u s t b e h o n e s t l y by

the

right

hand.

t h u m b contacts the while

the

left

In

fact

the

the

right

moves

to

the

position

The

left

hand

to

from

the

a n d the left

audience. It is only

fingers

curl i n w a r d to

The hands must move in synchronism

i n S t e p 4 , a n d t h e h a n d s m u s t r e a c h t h e i r re-

now move drops

table

(B)

shown in Figures 36 and 37. 4. The hands

coin

the r e l a x e d p o s i t i o n in Figure 3 8 .

coin, holding it in place

hand

the

simultaneously.

the

rest

spective e n d p o s i t i o n s at the s a m e instant. If

position

o n e h a n d m o v e s b e f o r e o r a f t e r t h e o t h e r , at-

shown in Figure 38. Y o u pay no attention to

tention

t h i s h a n d ; i t s i m p l y f a l l s t o t h e t a b l e , t h e fin-

distracted.

gers curling in slightly to retain the coin. T h e

tion m e n t i o n e d earlier.

is

improperly

focused

or

otherwise

This is the principle of Coordina-

actual p o s i t i o n of the c o n c e a l e d coin is s h o w n in the e x p o s e d view given in Figure 3 9 . T h e

The Fake Drop

right h a n d m o v e s u p with the s u p p o s e d coin, d i s p l a y it. Y o u l e a n f o r w a r d a s t h e r i g h t

T h i s is a m e t h o d of s h o w i n g a c o i n in the

hand moves up. N o t e in Figure 38 that Sly-

to

right h a n d a n d p r e t e n d i n g to p l a c e or d r o p it

dini's e x p r e s s i o n clearly c o n v e y s the i d e a that

into the left h a n d while actually retaining it in

he believes the c o i n is in the right h a n d . All

the right. A s i d e f r o m the c o m p l e t e d e c e p t i v e ¬

a t t e n t i o n is on the right h a n d ; the left h a n d is

ness of the m o v e , it is an excellent m o v e for

completely ignored.

performers

This Take.

completes

A coin is

the

action

of

the

Fake

who

have

dry

hands

and

find

p a l m i n g difficult.

s h o w n on the left p a l m a n d

W e will s t a r t b y i l l u s t r a t i n g the w r o n g w a y

apparently

taken with the right h a n d , while in

to p a l m a coin. T h e coin is displayed as shown

fact

secretly

in

it

is

retained in the left h a n d .

Figure 4 0 .

Y o u want to pretend to drop

Mechanically the m o v e is easy to learn, b u t it

the c o i n i n t o the left h a n d b u t a c t u a l l y h o l d i t

will r e m a i n n o t h i n g m o r e t h a n a m o v e u n l e s s

b a c k in the right h a n d . M a n y m a g i c i a n s pro-

y o u convey the c o m p l e t e belief that the coin

c e e d as f o l l o w s ; the right h a n d m a k e s a toss-

is

ing

actually

in

the

right hand.

When Slydini

m o t i o n t o w a r d the left as if t o s s i n g the

p e r f o r m s this m o v e in a r o u t i n e , the impres-

coin into the left h a n d . T h e left h a n d closes as

sion that the c o i n is in the right h a n d is so

if it contained the coin. T h e action of the toss

strong

is shown in Figure 4 1 . N o t e the c r a m p e d and

that

you

think

you

actually

see

the

c o i n in the right h a n d .

awkward condition

of the

right h a n d in Fig-

ure 4 1 ; y o u are telegraphing the fact that y o u are h o l d i n g b a c k the c o i n . M u c h b e t t e r is the

Checkpoints

following handling devised by Slydini. T h e a c t i o n o f the p r e c e d i n g s t e p s re-

1. Y o u are s e a t e d in the b a s i c starting p o -

sults in a convincing F a k e T a k e of the coin.

sition. T h e r e is a coin on the o p e n right p a l m ,

(A) To

make

the

illusion

perfect,

displayed

the left h a n d

as

shown

in

Figure

42.

T h e left

must—in Slydini's words—remain as stationary

h a n d calls a t t e n t i o n t o the c o i n b y p o i n t i n g t o

as marble when

it as shown in Figure 4 2 .

contact

the

coin

the in

right t h u m b Step

2.

a n d fingers

With

the

right

2. When

the

left

forefinger contacts

the

t h u m b in c o n t a c t with the coin and thus hold-

coin,

ing it s e c u r e l y in p l a c e against the left p a l m ,

which

t h e left h a n d turns or tips slightly so t h a t the

h a n d . " As y o u s a y , ". . . from here . . ." the

coin is no longer in the spectator's view. T h e

left first finger p u s h e s the c o i n i n t o the right 27

say

to

we'll

the place

audience, from

"Look,

here

into

a coin, the

left

palm, palm

thus

aiding

grip

on

in

the

securing

coin.

a

The

right h a n d . P e r f o r m the F a k e D r o p as the coin

g o o d right-

left

is a p p a r e n t l y p l a c e d i n t o the left h a n d .

forefinger

2. B r i n g the right h a n d to the rest p o s i -

m u s t n o t l o o k as if it is pressing the coin into

tion as already described.

the right p a l m ; it s h o u l d l o o k as if it is m e r e l y

3. Then

t a p p i n g the coin. A l s o , there m u s t b e n o de-

wave

the

right

hand

over

the

l a y ; as s o o n as the left first finger p u s h e s the

c l o s e d left fist, F i g u r e 4 5 . O p e n t h e left h a n d

coin, b o t h h a n d s b e g i n turning to the left.

to s h o w the coin has vanished, Figure 4 6 .

3. As

you

complete

4 . T h e left h a n d n o w tips u p slightly, Fig-

the above sentence

with the w o r d s , ". . . i n t o the left h a n d , " b o t h

ure

hands

moves forward from the position of Figure 46

have

completed

the

movement

to

the

left, F i g u r e 4 3 . T h e right h a n d has a p p a r e n t l y

to

47.

At

the

same

that of Figure 47

d r o p p e d o r t o s s e d the c o i n i n t o the left p a l m ,

coin

a n d the left h a n d h a s c l o s e d a r o u n d the i m a g i -

and-forth movement

nary coin.

Steps

4. Immediately ward while

the

to

the

the

3

4

right

hand

a n d secretly drops the

waiting

and

the

left

of

palm.

the

The back¬

right

hand

in

m u s t be c o n t i n u o u s a n d un-

hurried.

l e f t h a n d m o v e s for-

the right h a n d d r o p s

into

time

rest

5. The

right

position at the edge of the table, Figure 4 4 .

movement

The concealed coin in

f r o m thin air,

the right h a n d c a n be

and

h a n d c o n t i n u e s its pretends

to

pluck

forward the

coin

Figure 4 8 . N o t e that the e y e s

l a p p e d or retained in the right p a l m , depend-

f o l l o w t h e right h a n d a s i t c a t c h e s the invisi-

ing on the c o n t e x t in which the F a k e D r o p is

ble coin.

b e i n g u s e d . If a s i m p l e vanish is called for, the

6. C l o s e the left h a n d i n t o a fist. T o s s the

right h a n d is w a v e d over the c l o s e d left fist.

invisible c o i n a g a i n s t t h e left fist a s s h o w n i n

T h e left h a n d i s then o p e n e d t o s h o w that the

Figure 4 9 . Wave the right h a n d gracefully over

coin has vanished.

the left h a n d , hand to

Figure

5 0 , then o p e n the left

reveal that the coin has r e - a p p e a r e d ,

Figure 5 1 . 7. N o w , Applying the Moves

smooth,

As i m p o r t a n t as it is to m a s t e r a m o v e , it is

of equal importance

apply

that

move.

If

a

must

unhurried

hesitation,

manner,

but

in

a

apparently

take

the coin into the right h a n d using the

Fake

Take.

to know how to best routine

without

8. Pretend

to push

the

coin through the

be cut

b a c k o f the left h a n d , F i g u r e 5 2 . A t the s a m e

a p a r t to m a k e r o o m for a m o v e , c h a n c e s are

t i m e the left h a n d o p e n s a n d the coin d r o p s

t h a t t h e m o v e d i d n ' t b e l o n g i n the first p l a c e .

to the table, Figure 5 3 , the coin having appar-

T h e m o v e m u s t fit s e a m l e s s l y i n t o t h e r o u t i n e

ently p e n e t r a t e d the left h a n d .

as a natural part of the handling.

Following

If working while

are t w o s i m p l e a p p l i c a t i o n s o f the F a k e T a k e

coin

fall

and

onto

a spectator's

Fake

Drop to show how, when properly

from

standing, simply let the

the left h a n d to

the

floor or

outstretched p a l m . In any

used, they p r o d u c e m a g i c that appears a l m o s t

case y o u have p e r f o r m e d a mystifying illusion

real.

in the m o s t direct a n d o p e n m a n n e r possible,

Note

also

that

at

no

time

is

there

any

without

need to cover a m o v e , to m a k e wildly distracting

actions,

effort,

without c o m p l i c a t e d sleights,

as if real m a g i c were i n d e e d b e i n g p e r f o r m e d .

to use thunder and lightning as

misdirection. T h e misdirection flows naturally from

the

handling

and

produces

elegant

magic.

Another

T h e first r o u t i n e involves and

the

routine

the

F a k e D r o p in a simple setting. T h e

After c o m p l e t i n g S t e p 6 of the a b o v e rou-

can be performed standing or seated

tine

at the table. 1.

Begin

Routine

Fake Take Slydini

sometimes

uses

another

ending

that is equally effective. by

displaying

the

coin

in

the

1. 28

The

coin

has j u s t materialized in the

left h a n d a n d is b e i n g d i s p l a y e d as s h o w n in

nated if the p r o p e r deception is to be created.

F i g u r e 5 4 , o n the o u t s t r e t c h e d left p a l m .

A

thumb

a n d fingers

problem

was

stated

there

in

which

the

reader w a s a s k e d t o c o n s i d e r the t a s k o f se-

2. T a k e the coin legitimately by the right

picking up

or palming a small object

T a k e , but actually take the coin as s h o w n in

concealed behind

a p a c k of cigarettes on the

Figure 55.

table.

3. Turn

the

as if performing the F a k e

left

hand

palm

down

cretly

If

one

tries

conventional methods he

quickly discovers that they are i n a d e q u a t e or

and

p l a c e the c o i n o n the b a c k o f the left h a n d a s

that they require considerable misdirection or

shown in Figure 56.

cover to bring a b o u t the desired steal of the

4. R o c k

concealed object.

the coin b a c k and forth a bit as

y o u say, " I ' m going to pass the coin through the

When a p p r o a c h i n g a p r o b l e m of this sort,

hand."

Slydini begins with the observation that if the

5. Then pause

and say, "There's nothing

in the left h a n d . " At the hand moves

o b j e c t i s t o b e secretly p i c k e d u p b y the left

s a m e t i m e the left

hand,

to the position shown in Figure

the

the

right

right h a n d m u s t m o v e naturally to to

misdirect

attention

to the right.

5 7 , a b o u t an inch off the table. N o t e in Fig-

As the b o d y leans f o r w a r d to assist the right

ure

hand

57

hand.

that the left t h u m b is a g a i n s t the left This is to prevent a flash of the coin

later on w h e n it is s t o l e n by the left h a n d . 6. While

the

in

its

naturally

movement,

or

moves

the

to

left

hand drops

the near edge

of the

table to p i c k up the h i d d e n object. B e c a u s e of

right h a n d remains m o t i o n -

the naturalness of the m o v e m e n t s of the right

less in the p o s i t i o n i n d i c a t e d in F i g u r e 5 7 , the

h a n d , the m o v e m e n t o f the left h a n d i s invisi-

left h a n d b e g i n s to m o v e to a p a l m - d o w n con-

b l e t o t h e a u d i e n c e . A c o n c r e t e e x a m p l e fol-

dition

l o w s . It is n o t a c o m p l e t e trick in itself a n d is

again,

thumb

F i g u r e 5 8 . A s s o o n a s the left

contacts

the

right

first

and

second

not intended

to be.

fingers, Figure 5 9 , the right h a n d releases the

show the

coin. T h e coin secretly drops and is caught by

in setting up

the

left h a n d .

Note

that the left fingers are

an

without cover,

c u r l e d slightly i n w a r d i n F i g u r e 5 9 t o facili-

Rather,

importance

the

intent is

to

of proper coordination

"invisible" move performed

and also to hint at the possi-

bilities i n h e r e n t in this c o n c e p t .

t a t e c a t c h i n g the c o i n . T h e left h a n d d o e s n o t actually

make

a

catching

action;

the

coin

d r o p s n a t u r a l l y i n t o the w a i t i n g left h a n d . 7. T h e tinues

to

left

hand

simultaneously

turn p a l m - d o w n and form

Coordination—An E x a m p l e

con-

a loose

fist.

A ring is h i d d e n b e h i n d a p a c k of cigar8. T h e

right

hand

moves

to

ettes

a position

in Figure 60 and y o u wish to secretly

over the left h a n d as in Figure 5 6 , b u t n o w it

r e t r i e v e it. A n e a s y a p p r o a c h i s t h e f o l l o w i n g .

p a n t o m i m e s holding the coin.

Y o u m a k e three p a p e r balls, as s h o w n in Fig-

9. The coin left

right

against

hand

presses

the

opens

60

and

place

them

on

the

table. Then

The

gather the three balls a n d p l a c e t h e m i n t o the

and the coin drops to

left h a n d , F i g u r e 6 1 , a n d y o u s a y t o the spec-

the b a c k o f the left h a n d .

h a n d then

ure

supposed

the table.

tator, " I ' m g o i n g to give y o u a c h o i c e of o n e of as the opening

these b a l l s . " T h e right h a n d p i c k s up one ball

s e g m e n t in his stand-up p r e s e n t a t i o n of " T h e

and p l a c e s it on the table as s h o w n in Figure

Slydini

uses

this

routine

F l i g h t o f t h e C o i n s " d e s c r i b e d i n The Stars o f

6 2 . T h e ball is p l a c e d at the near edge of the

Magic.

table. T h e right h a n d then p l a c e s the s e c o n d ball a b o u t six i n c h e s i n front o f the first b a l l , Figu r e 6 3 . T h e n t h e l a s t b a l l i s p l a c e d still f u r t h e r

More on Coordination

away the

movement

of the hands

from the performer as s h o w n in Figure

6 4 . B u t n o t e that the performer's b o d y leans

As was m e n t i o n e d briefly in C h a p t e r One,

forward

must be coordi29

in

Figure

64

as

the right h a n d de-

posits

the

third

hand naturally

ball

drops

on

the

table.

tails m o s t m a g i c i a n s will i g n o r e until b r o u g h t

T h e left

to the tabletop

to

(Figure

their attention. Slydini has a n a l y z e d these

6 4 again) a n d secretly p i c k s u p the ring. T h e

basic

ring is n o t actually g r a s p e d by the left h a n d ;

way of example, how to approach and master

rather,

these

the left h a n d c o m e s

to rest naturally

precepts fine

of magic and offers here, by

points.

Although

standing

the

Figure 6 5 .

m o s t c a s e s t h e y d e t e r m i n e t h e s u c c e s s o r fail-

The

three

balls

can

be

placed

in

principles

to

in

as the h a n d s m o v e b a c k to the rest p o s i t i o n of

of

so basic

tricks

they

on t o p of the ring a n d s i m p l y retains the ring

are

not

themselves,

an under-

of magic

that

in

ure of the m a g i c i a n ' s i m p a c t before the audi-

a line

ence.

e x t e n d i n g to the right rather than to the left. T h e right h a n d has further t o m o v e this w a y ,

W e will b e g i n w i t h a s i m p l e e x a m p l e ; s u p -

so the b o d y leans further to the right a n d the

p o s e y o u are p e r f o r m i n g the torn a n d r e s t o r e d

misdirection is strengthened. The point to be

paper trick.

m a d e b y this e x a m p l e i s that the b o d y a l w a y s

y o u h a v e s w i t c h e d t h e t o r n p i e c e s f o r t h e re-

assists in the misdirection, either by leaning in

s t o r e d p i e c e . Y o u n o w w a n t t o get rid o f the

You've

pieces.

the p o i n t where

the direction y o u want the audience to look,

torn

or in c o m i n g to rest in the R e s t Position.

u s e d by magicians is to leave the torn pieces the

traditional

the convincing nature of the misdirection.

wand. Magicians always make two moves out

N o t e also that the left h a n d r e a c h e s its p o s i -

of this. If y o u ask w h y , it is b e c a u s e the m i n d directs

h i d d e n ring at e x a c t l y the s a m e t i m e as the

pieces behind,

while

the h a n d to release

you

or ruse

behind

tion as it c o m e s to rest on the c o n c e a l e d or

table

excuse

T h e eyes, the facial e x p r e s s i o n , also a d d to

on

The

reached

reach

for a

or leave the torn

and then to take the w a n d . It

right h a n d reaches its final p o s i t i o n in F i g u r e

does n o t m a t t e r h o w small the m o v e m e n t is;

64 as it d e p o s i t s the p a p e r ball o n t o the table.

if

you

are

The

Take,"

the

reverse is also true; although the h a n d s

thinking

"Leave

and

m o v e will b e t e l e g r a p h e d t o t h e

audience.

m u s t m o v e a different d i s t a n c e f r o m o n e another,

mentally

the left h a n d a n d right h a n d c o m e t o

B u t if y o u consciously direct the h a n d to

the rest p o s i t i o n of Figure 65 at e x a c t l y the

take

s a m e time. This is the f u n d a m e n t a l c o n c e p t of

mand

(forgetting

completely

"Leave"),

about

the

com-

g r a d u a l l y y o u will learn t o

correct c o o r d i n a t i o n . Properly p e r f o r m e d , the

o p e n t h e h a n d only

" i n v i s i b l e " actions of the left h a n d literally go

t h e w a n d . T h e h a n d will a u t o m a t i c a l l y l e a v e

unnoticed.

the

torn

pieces

for the p u r p o s e of taking

behind.

As

simple

as

this

for the left

s o u n d s , it is difficult to master in practice and

h a n d to r e m a i n in p o s i t i o n for very long. A

i n f a c t r e q u i r e s d e d i c a t i o n a n d a c o n s c i o u s ef-

fine p o i n t in the t e c h n i q u e S l y d i n i uses is this;

f o r t o f will p o w e r t o g r a s p .

Sometimes

it is undesirable

he might e x t e n d the right h a n d t o w a r d a spec-

O n c e a c q u i r e d , y o u will h a v e l e a r n e d h a l f

tator, inviting the s p e c t a t o r to e x a m i n e an ob-

of

j e c t in the right hand. As s o o n as the specta-

w a y t o h a n d l e this e x a m p l e . T h e other a s p e c t ,

tor

equally i m p o r t a n t , is to direct the e y e s in the

begins

says,

to

"That's

reach

for the

enough,"

object,

and

Slydini

withdraws

the

the

correct

complete

manner.

theory

You

behind

the

proper

s h o u l d not s t a r e a t t h e

right h a n d . B o t h h a n d s m o v e b a c k a n d c o m e

wand

a s y o u r e a c h f o r it. I n s t e a d , the h e a d toward

together to the rest p o s i t i o n at the s a m e time.

turns

T h u s , a gag that brings a smile to the a u d i e n c e

w h e r e it is, the right h a n d begins to r e a c h for

is u s e d as c o v e r for a m o v e that is n e c e s s a r y to

it;

the naturalness of the handling.

e n c e ' s a t t e n t i o n at the p i e c e s in the left h a n d ;

the

wand;

as s o o n as y o u see

the h e a d m o v e s b a c k , directing the audi-

the right h a n d continues to m o v e to the table a n d p i c k s u p the w a n d (releasing the p a l m e d pieces at the s a m e t i m e ) . B u t notice that the

Leave and Take

h e a d turns l o n g before the right h a n d reaches Some

the w a n d .

of the m o s t important elements of

I f y o u f o l l o w the p r o g r e s s o f the

right h a n d with the

M a g i c are c o n c e r n e d w i t h s e e m i n g l y small de30

eyes

as y o u p i c k up the

w a n d a n d w a v e it over the p i e c e s in the left

difference

hand,

trick and one that arouses audience suspicion.

the a u d i e n c e will l o o k w h e r e y o u are

l o o k i n g . T h u s , b e c a u s e y o u are l o o k i n g at the right

hand,

you

are

between

completely

deceptive

T h e concept has a refinement attached to

unconsciously directing

it

t o o m u c h a t t e n t i o n t o i t a n d will t h u s t i p t h e

w h e n y o u w a n t to leave an o b j e c t in the

pocket

move.

and

Suppose

Another e x a m p l e that y o u have seen magicians do countless times:

a

torn

He is nearing the

come

now

out

that

with

you

another object.

are

performing

the

and restored paper again and have just

switched

out the torn pieces for the restored

end of the classic cut and restored r o p e rou-

pieces.

tine. T h e center of the r o p e has b e e n cut and

torn p i e c e s , is g o i n g to the right p o c k e t for

the cut ends k n o t t e d .

As he winds the rope

some

The

right

woffle

a r o u n d the left h a n d , the right h a n d steals the

switch

k n o t . T h e right h a n d then g o e s t o the p o c k e t

piece

to leave the k n o t behind. As the h a n d c o m e s

the

o u t o f the p o c k e t h e tells the a u d i e n c e , " I ' m

and

the

hand,

dust.

torn

In

right h a n d

takes

eliminates

fumbling

goes

to

it

torn

pieces

example

of

the

"Leave

and

There

ways

to

to

the

r e s t o r e d p i e c e first,

fingers.

the

palmed

Thus

and

stalling

when

the

p o c k e t . Slydini keeps the

his

at the b a s e of the right

t h u m b a n d first finger are

free t o t a k e the r e s t o r e d p i e c e while the o t h e r

k n o t w i t h o u t g o i n g t o the p o c k e t , o f c o u r s e ,

fingers relax a n d leave the torn p i e c e s b e h i n d

b u t if y o u are going to use the m e t h o d where

on the w a y b a c k .

dispose

other

want

dispose of the

you

are

you

another restored

only then releases the torn pieces. This

hand

another

for

the p a l m e d

of paper. T h e i m p o r t a n t p o i n t is this;

going to use s o m e woffle dust to restore the is

reality

pieces

r o p e . " All o f this s o u n d s perfectly logical b u t T a k e " habit that magicians have acquired.

holding

of the k n o t while going to the

The basic concept of " L e a v e and T a k e "

p o c k e t for s o m e woffle d u s t , y o u m a y a s well

will

u s e the correct a p p r o a c h .

c h a p t e r s . I t i s o n e o f t h e c o r n e r s t o n e s o f ar-

The hand

better handling is this:

winds

y o u say, going

to

phrase,

the

rope

around

as the right

arise

again

and again in

the

following

tistry in M a g i c , a n d is e x p l o i t e d by Slydini to

the left h a n d ,

masterful a "vantage.

E v e n w h e n he tells y o u

" A n d n o w I'll s h o w y o u w h a t I ' m

b e f o r e h a n d w h a t he is going to d o , the psy-

use." Just

this

c h o l o g y is so strong that it is i m p o s s i b l e for

right h a n d s h o u l d b e m o v i n g t o

y o u to detect the m o v e or switch w h e n it is in

the

before

you

finish

the p o c k e t . T h u s , the i m a g e y o u are project-

operation.

K e e p i n m i n d that w e are talking

ing to the a u d i e n c e is that y o u are g o i n g to

about

psychology

take

is

illustrated i n this c h a p t e r b y the specific c a s e

never a s u s p i c i o n that y o u are leaving s o m e -

of leaving torn pieces of paper behind as y o u

thing b e h i n d . T h e h a n d g o e s t o the p o c k e t t o

take a w a n d from

take

As the h a n d

for the p u r p o s e o f e x a m p l e . A s y o u will s o o n

c o m e s out of the p o c k e t , say, "I use woffle

learn, S l y d i n i u s e s this i m p o r t a n t c o n c e p t for

d u s t . " It

m a n y diverse p u r p o s e s .

something

from

the

a handful of woffle is

only

pocket.

dust.

a detail b u t

There

it m a k e s the

31

the

the

of misdirection.

It is

table, b u t this is only

4

Fundamental Concepts of Slydini's Magic HEN

the

idea

for

this

first b e i n g d i s c u s s e d ,

book

was

L e t us return to the original question. T h e

I a s s u m e d it

reason why

w o u l d in essence be a collection of tricks. T h i s s e e m e d a r e a s o n a b l e ass u m p t i o n at the

dini's m a g i c

time b e c a u s e every b o o k of

concepts.

m a g i c tricks is generally not m u c h m o r e than

pendently

a

collection

of

routines,

variations,

moves,

and so on. It is true that one can glean certain patterns

of

thought

from

a magician's pub-

other

between

Slydini's to

magic.

magic Until

or

other.

No

what

and

all the

can be u s e d inde-

conjunction

matter

Learn

now

concepts

in

what

the

combinations

with

one

an-

application, you

devise,

no you

very highest order. e a c h c o n c e p t b y first s t u d y i n g the

t e x t a n d the p h o t o s . A n a l y z e each step s o y o u

is e x a c t l y this p o i n t w h i c h m a r k s the approaches

develops from four fundamental

These

matter

lish r o u t i n e s a n d n o t p h i l o s o p h y o r t h e o r y .

difference

d i f f e r s f r o m all o t h e r s

will find t h a t y o u are d e v e l o p i n g m a g i c o f the

lished tricks, but clearly the intent is to pub-

It

this b o o k

on the subject of close-up magic is that Sly-

know

why

it

is

used.

Then practice with a

small o b j e c t , coin, a p a p e r ball, or a s p o n g e

r e a d e r m a y h a v e b e e n i m p r e s s e d w i t h the clev-

ball

e r n e s s o f t h e S l y d i n i , t r i c k s t h u s far d e s c r i b e d ,

e a c h c o n c e p t s o t h a t y o u c a n p e r f o r m t h e en-

and he m a y have b e e n further i m p r e s s e d with

tire

Slydini's attention to detail, the emphasis on

think

naturalness

for

example.

sequence which

Familiarize

without move

having

comes

yourself with to

next.

stop

and

Remember

that these are c o n c e p t s , n o t tricks. M a s t e r the

o f h a n d l i n g , a n d s o f o r t h . B u t all same points. The

concepts as Slydini teaches them. Then if y o u

r e a d e r will t h u s h a v e l o g i c a l c a u s e t o w o n d e r

feel t h a t s o m e p a r t o f t h e h a n d l i n g o r p r e s e n -

w h y S l y d i n i ' s m a g i c i s s u p p o s e d t o b e s o dif-

tation

f e r e n t f r o m all o t h e r m a g i c . T h i s c h a p t e r will

dividual

answer that question.

style.

good magicians

stress

the

A f t e r y e a r s o f a n a l y s i s o f m a g i c i n all i t s

can

b e c h a n g e d t o b e t t e r s u i t y o u r in-

style,

adapt

the

handling

B u t first

master

the

Slydini

When y o u have

to

your

approach.

mastered these four con-

forms from close-up to stage illusions, Slydini

c e p t s y o u will b e r e a d y t o a p p l y t h e m t o s p e -

developed

cific r o u t i n e s . T h i s entire b o o k is, o f c o u r s e ,

the

theory

elements

of

concepts

of Timing

these

that

the

natural magic

concepts

one

fundamental

evolved from the

and Misdirection. could

develop

filled

with

such

routines,

but

to

make

the

From

reader's task as easy as possible, I asked Sly-

endless

dini to devise brief routines that u s e d v a r i o u s

m o v e s a n d routines. In a d d i t i o n Slydini devel-

combinations

o p e d t w o further c o n c e p t s specifically for the

T h e s e are quick, easy tricks y o u can apply to

close-up magician, the I m p Pass and the R e -

any

small

volve. T h e Revolve is used to vanish an object,

the

important

the I m p Pass to retrieve or p r o d u c e an object.

learning

These

four

concepts,

Timing,

of

the

four

basic

concepts.

object that is easily handled. B u t point

these

is

elegant

that

quick

while tricks,

you

are

y o u are

also learning h o w to a p p l y the basic c o n c e p t s .

Misdirec-

tion, T h e R e v o l v e , and T h e I m p Pass, are the

F r o m here y o u can begin to see h o w one can

fundamental

build from these basic concepts, h o w one can

concepts

of

Slydini's

close-up

m a g i c . F r o m these four c o n c e p t s one can de-

develop

velop

balls, and so on.

dinary

b a f f l i n g a n d a s t o n i s h i n g t r i c k s w i t h orobjects,

concepts

the ultimate in natural magic

b e c a u s e the tricks seem

and

with

dice,

cigarettes,

billiard

O n c e y o u have g r a s p e d the

appreciate

their potential,

you

will h a v e b e g u n t o m a s t e r t h e r e a l s e c r e t s o f

to just happen, and

do not appear to result from m o v e s

tricks

Slydini's magic.

or gim-

micks. 32

Slydini's Concept of Misdirection

iments

of the theory when he lived in S o u t h

A m e r i c a , he was later to devote m a n y hours t o w a r d an analysis of the c o n c e p t . In the pro-

V i r t u a l l y all m a g i c a l a u t h o r i t i e s a g r e e t h a t o f m a g i c d o n o t lie i n p r o p s ,

cess h e e v o l v e d his o w n a p p r o a c h t o the sub-

or sleights, b u t rather in psychol-

ject, an a p p r o a c h recognized as the s u p r e m e

t h e real s e c r e t s gimmicks,

d e v e l o p m e n t in the art of m i s d i r e c t i o n .

ogy a n d misdirection, in other w o r d s , in the m a g i c i a n ' s ability to directly control the spec-

The

fundamental

concept

is

that

of

a

t a t o r ' s m i n d . A s t h e o l d s a y i n g h a s it, i t i s n o t

m o v e m e n t which is so natural that it is actual-

what they saw b u t what they think they saw

ly invisible to the audience's c o n s c i o u s m i n d .

t h a t i s i m p o r t a n t . A s u c c i n c t e x a m p l e o f tra-

The

ditional m i s d i r e c t i o n c a n be f o u n d in the clas-

vividly illustrated in an everyday e x a m p l e .

psychology

of

this

movement

can

be

sic p r o d u c t i o n o f c i g a r e t t e s ; while the m a g i -

Y o u are s e a t e d at the table as s h o w n in

c i a n ' s left h a n d r e a c h e s o u t a n d m y s t e r i o u s l y

Figure 66. An object—anything from a pencil

plucks

to p a p e r to

hand

a lit

c i g a r e t t e f r o m t h e air, h i s r i g h t

secretly

gets h o l d of another cigarette

t w o feet t o y o u r left.

for the n e x t p r o d u c t i o n . T h e m a g i c i a n ' s attention is

a book—rests on the floor a b o u t S o m e o n e asks y o u to

p i c k up the object.

d i r e c t e d at the m o v e m e n t of the left

Y o u p r o c e e d to do so by leaning forward

h a n d a n d his face m i r r o r s surprise or bewilder-

as s h o w n in Figure 6 7 , grasping the object a n d

ment

left

then straightening up as s h o w n in Figure 6 8 .

hand. A u d i e n c e attention is similarly directed

All of this l o o k s c o m p l e t e l y natural a n d it is,

at

but

the

as

a

cigarette

left

hand,

materializes

so

no

action performed by

in

the

one sees the secret

the right h a n d . I n s u m ,

a

y o u have c a u s e d the a u d i e n c e to l o o k in the

Slydini's made

approach

different.

during

audience.

some

Rather,

to

The the

has

taken place,

ring on the t a b l e to S l y d i n i ' s left. T h e n s t u d y is

Figure 6 7 . In order to p i c k up the object from

is

not

the floor, o n e m u s t logically grasp the table-

distracts

the

t o p b e f o r e l e a n i n g over, in order to give him-

misdirection

secret

action

movement"

Go b a c k to Figure 6 6 . N o t e that there is a

w r o n g p l a c e at the right t i m e .

radically

"hidden

o n e t h a t i s all b u t i n v i s i b l e t o t h e o n l o o k e r .

move

that

secret

move

is

self

per-

support.

Otherwise

he

will

fall

to

the

f o r m e d d u r i n g a rest s i t u a t i o n w h e n nothing i s

floor. T h u s it is perfectly natural to rest the

apparently

P s y c h o l o g i c a l l y , this

right hand

that

to the left to p i c k up the object.

approach

being is

so

done! strong

k n o w positively

even

when

you

on the table while the b o d y leans

and b e y o n d doubt h o w Sly-

B u t note that in picking up the object on

d i n i ' s r o u t i n e s a r e a c c o m p l i s h e d , y o u a r e still

the floor, Slydini can steal the ring in Figure

deceived when y o u only

by

when

you

your

eyes

a

watch him perform. It is

conscious force see

your

effort mind

of will to

67 in a natural w a y . So natural is the m o v e -

power,

ment

ignore what

a n d y o u r ears hear,

of

seated

that y o u

the

across

movement

will h a v e a n y c h a n c e a t all o f f o l l o w i n g t h e

right the

was

hand table

made

that

the

onlooker

is u n a w a r e

with

the

t h a t any

right

m e t h o d . E v e n then the struggle to follow the

rest p o s i t i o n ,

m e t h o d i s all b u t i m p o s s i b l e t o s u s t a i n . Y o u

be

find y o u r s e l f losing g r o u n d , y o u miss a crucial

that the ring is no longer on the table.

m o v e or a change in handling, utterly

no

idea

how

Slydini

does

Figure 6 8 , the spectator w o u l d

at a c o m p l e t e loss to a c c o u n t for the fact

and abruptly

Psychologically

find y o u r s e l f viewing the routine as a l a y m a n , with

hand.

L a t e r on after Slydini has again a s s u m e d the

these

"invisible"

move-

m e n t s are the s t r o n g e s t p o s s i b l e e l e m e n t s in

the

trick.

Invisible Sleights

the

art

of perfect misdirection. Because they

are

so

natural,

they

therefore

cannot

sharpest

spectator.

pect

this:

is

movement

go

not

be

are

never

detected

The only

other does

unnoticed,

but

noticed by

even

important the the

and the as-

"invisible" audience's

Slydini is k n o w n as the m a s t e r of misdi-

attention is directed to the b o d y ' s m o v e m e n t

rection. A l t h o u g h h e h a d p i c k e d u p s o m e rud-

to the left as the o b j e c t is p i c k e d up f r o m the 33

t w o i m p o r t a n t ele-

right h a n d m a k e s a c l o c k w i s e circular m o t i o n

m e n t s we m u s t consider: On the one h a n d is

to roll the ball b e t w e e n the p a l m s . As the ball

floor. T h e r e are therefore

the invisible element, in our e x a m p l e that of

is rolled b a c k a n d forth b e t w e e n the p a l m s , it

resting

will r e a c h a p o s i t i o n n e a r the right t h u m b . It

the

steady the

right

hand

against

the

table

to

is at this p o i n t that the ball is p a l m e d .

the b o d y as y o u reach to the left; on

other h a n d is the visible

element

(An

e x p o s e d view of the p a l m is s h o w n in Figure

of the

m o v e m e n t of the left h a n d as it reaches to the

74.) T h e right t h u m b exerts j u s t enough pres-

left o r t o the f l o o r t o p i c k u p a n o b j e c t . S l y -

sure on the ball to h o l d it in place.

d i n i t u r n s all a t t e n t i o n t o t h e l e f t h a n d , s o t h e

freeze

audience

s u d d e n l y b e c o m e rigid. Merely retain the ball

hand.

is

compelled

Besides,

tabletop

the

to

right

watch hand

only

that

touches

only for a s e c o n d , so the

fingers

in a l o o s e

the

or allow

the right h a n d to

t h u m b p a l m position in the right

h a n d as the h a n d s roll the ball.

audience

has n o c h a n c e t o n o t i c e the right h a n d . N o t e also

the

Do not

3. N o t e the position

that b o t h h a n d s m o v e a t the s a m e time,

of the b o d y in Fig-

ure 7 0 . Y o u lean slightly forward, the b o d y a

in other w o r d s , there is a c o o r d i n a t e d m o v e -

quarter

m e n t o f the h a n d s . T h e left h a n d r e a c h e s the

slightly.

o b j e c t on the floor at the s a m e t i m e that the

a r o u n d b e c a u s e the a u d i e n c e will see o n l y the

right h a n d reaches

b a c k of the head.

the ring. T h e h a n d s m o v e

at different s p e e d s , as already e x p l a i n e d in the

sleights

not

turn

the

head

completely

4. As s o o n as the right h a n d has the ball fist.

It w a s w h e n he d e v e l o p e d this i d e a regardinvisible

to the left. T h e h e a d is inclined

Do

in a p a l m p o s i t i o n , the left h a n d closes i n t o a

section on "Coordination." ing

turn

and

coordination

T h e hands then m o v e to the position of

F i g u r e 7 1 . T h e right a r m d o e s n o t raise a t the

that

S l y d i n i b e g a n t o b u i l d his c o n c e p t o f Misdi-

shoulder in Figure

rection.

and

the

gets

a 3/4 view

right

7 1 . T h e left e l b o w is up

shoulder

down.

of the face

The audience

( n o t a profile or

full-front view o f the face) b e c a u s e y o u w a n t them

to

see

Misdirection

forearm

Slydini

to

cause

an

y o u r attention is

directed

object

touches

the b o d y in order to insure

that the right arm remains steady.

This is the basic misdirection sleight u s e d by

that

solely at the o b j e c t in the left fist. T h e right

When

to vanish or

Slydini

performs

this

move,

the

right a r m first m o v e s t o the p o s i t i o n o f F i g u r e

appear. It follows the basic c o n c e p t in that it eyes,

7 1 , then the arm remains m o r e or less in p l a c e

b o d y , a n d facial e x p r e s s i o n . E a c h s e p a r a t e ele-

while the right h a n d swivels d o w n to p o i n t to

ment

the left fist. T h e m o v e m e n t of S t e p 4 is d o n e

is

a

coordinated must

ralness. effect

be

movement

of hands,

t h o r o u g h l y a n a l y z e d for natu-

on

E a c h m u s t a d d its p a r t t o the overall

count

of " O n e . " T h e situation at the

e n d of this m o v e m e n t is s h o w n in the e x p o s e d

of c o n v i n c i n g the a u d i e n c e of the gen-

view of Figure 7 2 .

uineness of that which is not true. The

the

c o n c e p t will b e a p p l i e d t o a s i m p l e

5 . N o w y o u are g o i n g t o l o o k t o see i f the

vanish and retrieval of a p a p e r ball. A n y small

ball is inside the left h a n d . T h i s m e a n s that

object that is easily p a l m e d m a y , of course, be

y o u m u s t raise the left h a n d high e n o u g h for

used instead.

the e y e s t o l o o k i n t o the fist. T h e right h a n d

1. Y o u

are

seated in

the

drops naturally to the table as the b o d y leans

Basic Starting

P o s i t i o n d e s c r i b e d in C h a p t e r O n e . In this de-

to

s c r i p t i o n we will a s s u m e a p a p e r ball is to be

p o s i t i o n y o u reach will b e that o f F i g u r e 7 3 .

used.

To Figure

achieve this p o s i t i o n , three things h a p p e n

s i m u l t a n e o u s l y . With F i g u r e 72 as our starting

2. D i s p l a y the ball at the right fingertips. T h e n p l a c e i t i n t o the left h a n d ,

the left a n d the left h a n d is elevated. T h e

point,

69.

the

left

elbow

lowers

while

the

left

h a n d pivots at the wrist to a palm-up condi-

R o l l the ball b e t w e e n the p a l m s as if to m a k e the

tion. T h e left h a n d m o v e s t o the left a n d the

h a n d s are at right angles to one another. T h e

b o d y naturally m o v e s t o the left a n d forward.

the

ball

tighter,

Figure

70.

Note

that

34

The

right

tarily

hand lowers

(this

is

the

to

the

"invisible

table momen-

Figure

m o v e m e n t " de-

76,

then

o p e n them to s h o w that the

ball is g o n e , Figure 7 7 . N o t e in Figure 77 that

scribed earlier). As the hands, arms, and b o d y

the p a l m s are t o w a r d the audience. This em-

m o v e s y n c h r o n o u s l y to the position of Figure

phasizes that the ball has c o m p l e t e l y vanished

73 the eyes narrow as if to carefully focus on

and is n o t secretly hidden in either hand. T h e

the

handling

object

in

the

closed

left

hand.

Slydini

of the vanish can be prolonged by

u s u a l l y a s s u m e s a c o n f i d e n t e x p r e s s i o n at this

first

point

Figure 7 6 , then p a l m d o w n again, then open-

as

he

comments,

" T h e ball is

really

there."

the left h a n d p a l m up following

i n g the left h a n d , p a u s e , o p e n the left h a n d o n

Note the

turning

that

the

movement

sole

of the

apparent

purpose

of

b o t h sides, o p e n the right h a n d a n d s h o w the

right h a n d to the e d g e

ball has c o m p l e t e l y vanished.

of the table is to steady the b o d y as the b o d y leans

to

above

the left. T h e height o f the left h a n d

eye

level

is

exactly

the

height

that

would be necessary if y o u were in fact going

The Retrieval

to l o o k u n d e r the fingers i n t o the fist to see if the ball were there.

9. T h e a u d i e n c e a s s u m e s the trick is over

6. A g a i n reviewing the s e q u e n c e , n o t e in Figure 71

that the right s h o u l d e r a n d arm are

down.

This

moves

to the e d g e of the table, it d o e s n o t

have

far

so

means

to

that when

travel.

The

the

they

also

right h a n d

will

relaxes.

hands

are

naturally In

shown.

Figure You

relax. 78

The performer

the b a c k s of the

then bring the hands

b a c k against the b o d y , Figure 7 9 . A t the s a m e

end position of the

time the b o d y m o v e s b a c k in the chair as y o u

right h a n d in Figure 74 is an e x p o s e d view.

say, "That's all."

When the right h a n d r e a c h e s this p o s i t i o n , the

10. N o w l o o k to the right as if y o u see

right t h u m b r e l a x e s its grip o n the b a l l , allow-

something.

i n g i t t o fall i n t o t h e l a p . T h e s u c c e s s o f t h i s

the right h a n d m o v e s to the right to c a t c h the

deception

invisible o b j e c t , Figure 8 0 , the left h a n d natu-

does

not

lie in the n e a t n e s s w i t h

which y o u allow the ball to d r o p into the lap. Rather, ments

it is

the

connected

beginning with

position

at

which

that

the

series

As

rally d r o p s to the l a p .

of move-

1 1 . T h e left h a n d p i c k s up the ball in the

of Figure 71—the

misdirection

S w i n g the b o d y t o the right.

lap

begins—

a n d h o l d s it in a l o o s e p a l m . S w i n g the

body

t o the left.

At the s a m e time the right

and continuing through Figure 74, that makes

h a n d s w i n g s t o the left a n d d e p o s i t s the invisi-

the lapping sequence deceptive.

ble ball on the b a c k of the left wrist, F i g u r e

Note complete

also

that

the

81.

hands must move in

coordination when going from Fig-

12. The

right h a n d slides d o w n the b a c k

ure 71 to Figure 7 3 . T h u s , j u s t at the instant

o f the left h a n d t o the p o s i t i o n o f F i g u r e 8 2 .

the left h a n d reaches

A n e x p o s e d v i e w o f the s i t u a t i o n a t this p o i n t

73,

the p o s i t i o n

of

Figure

the right h a n d m u s t r e a c h its p o s i t i o n a t

the edge

is

of the table. T h e hands, arms, and

shown

in

F i g u r e 8 3 . With the right h a n d

remaining in place exactly as shown in Figure

b o d y start together beginning with Figure 71

8 2 , the left h a n d revolves at the wrist so it is

and stop together when y o u reach Figure 73.

p a l m - t o - p a l m with the right h a n d , F i g u r e 8 4 .

7. The hands

then m o v e

to

the p o s i t i o n

13. The

ball

is

transferred

to

the

right

o f Figure 7 5 . T h e m o v e m e n t o f the right h a n d

hand, where it is held by the right t h u m b in a

is a sharp, quick, dramatic gesture. N o t e that

loose palm. T h e hands m o v e in a continuing

all a t t e n t i o n i s o n t h e l e f t h a n d a t t h i s p o i n t .

action

to

the misdirection position of Figure

N o t e also that a l t h o u g h the right h a n d c o m e s

7 1 . N o t e t h a t the left h a n d c l o s e s i n t o a fist as

to a c o m p l e t e stop in Figure 73 and 74, when

if it c o n t a i n e d the invisible ball.

the right h a n d m o v e s to the p o s i t i o n of Figure 75

you

can

snap

the

fingers

14. N o w

to a d d to the

dramatic gesture. 8. R u b

make

a

throwing motion

with

the left h a n d . T h e invisible ball is t o s s e d into the air, F i g u r e 8 5 . T h e e y e s f o l l o w the flight

the right h a n d over the left h a n d ,

of the invisible ball. 35

15.

The

right h a n d

then

of

reaches to the

Figure

71

is

reached

on

the

count

of

" O n e . " T h e p o s i t i o n of Figure 73 is held for

right a n d p r o d u c e s the ball again, F i g u r e 8 6 . F r o m here y o u can c o n n e c t with the section

the c o u n t of " T w o , " and the position of Fig-

on T i m i n g that follows, to e x t e n d even

ure 7 5 h e l d for the c o u n t o f " T h r e e . "

fur-

ther the m y s t e r i o u s a p p e a r a n c e s a n d vanishes

(E)

of the p a p e r ball. T h e ball can be p r o d u c e d

71

f r o m t h e air, t h e p o c k e t , e t c .

In going from the position of Figure

t o t h a t o f F i g u r e 7 3 , the left h a n d m o v e s

from a position close to the performer's b o d y to

a position

over

the

t a b l e . T h e left h a n d

a c t u a l l y m o v e s f o r w a r d a n d t o the left i n the transition from

Figure 71

to Figure 73. The

r e a s o n for this is t h a t the b o d y will n a t u r a l l y

Checkpoints

m o v e forward t o w a r d the table, a n d therefore (A) The

matter

t h e r i g h t h a n d a l s o will a c h i e v e t h e p o s i t i o n o f

of coordination must be

emphasized. N o t e that in moving from the posi-

F i g u r e 7 3 i n a c o m p l e t e l y n a t u r a l w a y (if, f o r

tion o f F i g u r e 7 1 t o t h a t o f F i g u r e 7 5 the left

example,

hand moves

left, there w o u l d b e n o n a t u r a l r e a s o n for the

hand.

a greater distance than the right

B u t the m o v e m e n t

the left h a n d m o v e d straight to the

right h a n d t o m o v e f o r w a r d t o the t a b l e t o p ) .

of the hands m u s t

be c o o r d i n a t e d in such a w a y that the hands start t o g e t h e r a n d r e a c h their e n d p o s i t i o n at the s a m e time. T h e handling u p t o the p o i n t indicated in Figure 73 is leisurely and relaxed.

T h e Handling of the Misdirection V a n i s h

T h e r i g h t h a n d m u s t c o m e t o a full a n d c o m pletely relaxed rest position w h e n it contacts

S o m e p e o p l e m a y have difficulty master-

the edge of the table in Figure 7 3 . T h e r e m a y

ing the

be a t e n d e n c y on the part of the beginner to

has invented an alternate handling that is de-

immediately move

ceptive and easy to master.

the right h a n d a w a y from

the table after the ball is l a p p e d , b u t this is a giveaway the

and

draws

wrong hand.

too

much

first h a n d l i n g o f the v a n i s h . S l y d i n i

1. T h e ball is displayed as s h o w n in Fig-

attention to

ure 6 9 , rolled b e t w e e n the p a l m s as s h o w n in

T h e right h a n d m u s t m o v e

F i g u r e 7 0 , a n d stolen o u t b y the right h a n d a s

d o w n to the table as the b o d y m o v e s to the

already described.

left. In fact, the right h a n d w o u l d get to with-

2. B u t

now,

in an inch of the table even if it did n o t m o v e

around

at

handling begins

all;

the

movement

of

the

body

auto-

the

as

the

imaginary

left

ball,

to change.

hand

Figure

closes 70,

the

L o o k a t the left

matically c a u s e s the right h a n d to m o v e closer

h a n d a s y o u m o v e this h a n d t o the left, F i g u r e

to the table.

87.

(B) In

Figure

7 3 the left h a n d i s a b o u t

3 . T h e right h a n d has b e e n m o t i o n l e s s un-

eight to ten inches from the e y e s . T h e eyes

til t h i s p o i n t . N o w t h e r i g h t h a n d m o v e s b a c k ,

m u s t squint as if l o o k i n g through a keyhole to

F i g u r e 8 8 . T h e heel o f the right h a n d c o n t a c t s

catch

the

a glimpse of the s u p p o s e d ball in the

left h a n d . hand,

By

f o c u s i n g y o u r e y e s o n the left

audience

attention

its

the

it is

right

88

and

movement

89. to

T h e right the

right,

Figure 9 0 , as y o u continue to focus attention

hand

the tabletop

on the left h a n d .

(C) When gers n o r the

Figures

continues

is also focused on

the left h a n d . tabletop

tabletop,

hand

contacts

the

i m p e r a t i v e t h a t n e i t h e r t h e fin-

As the right h a n d c o n t a c t s

and moves back to

the right in

Figures 88 a n d 89 y o u release the ball, allow-

t h u m b m o v e w h e n releasing the

ing it to d r o p into the lap.

ball. T h e t h u m b s i m p l y r e l a x e d its grip, c a u s ing the ball the

t o fall f r o m t h e h a n d . N o t e t h a t

thumb does not show anyway in Figure

Miniature Misdirection

73 thus insuring that the release of the ball is truly invisible.

The

( D ) To get the timing right, the p o s i t i o n

soundness

of Slydini's

approach

to

misdirection is d e m o n s t r a t e d by the fact that 36

no

of the hands

together

( b u t still k e e p i n g t h e

are r e d u c e d in s w e e p , the misdirection is j u s t

the left

h a n d in

as strong and just as mystifying. This points

of the right h a n d ) .

up

matter h o w the

the

fact

so

t e a c h i n g his

movements

often

stressed by Slydini in

students; while b r o a d ,

7. K e e p

sweeping

the

student

to

mimic

exactly

then strive to d e v e l o p handlings that are b e s t

require

s u i t e d t o his o w n s t y l e .

apple,

T h e s u p r e m e test of Slydini's approach is following routine.

in

contact

8. Finally spread the hands to ball

the

thumbs

as

the

is gone, Figure 9 7 .

the s a m e

style. He s h o u l d m a s t e r the basic principles,

demonstrated in

the

other fingers are o p e n e d w i d e to s h o w the ball

m o t i o n s suit Slydini's style, it is not necessary for

first finger o f

c o n t a c t with the first finger

larger

movements.

T h e vanish of an

for e x a m p l e , m i g h t require a different

handling, b u t

Here

s h o w the

has completely vanished. Larger objects

the basic

misdirection concept

does not change.

all m o t i o n h a s b e e n m i n i a t u r i z e d — r e d u c e d t o absolute

essentials—yet

the

effect

is j u s t as

b a f f l i n g a s a n y large illusion. F o r this e x a m p l e we

will

u s e a cigarette p a p e r rolled up in a

Timing

small ball b u t any object c o u l d be used. N o t e t h a t t h e basic h a n d l i n g i s t h e s a m e a s

T h e s e c o n d m a j o r c o n c e p t o f Slydini's ap-

u s e d w i t h t h e l a r g e p a p e r b a l l . B u t all m o t i o n s

proach

to the p e r f o r m a n c e of close-up magic

have been scaled down

is

of Timing. Before Slydini developed

or reduced in sweep.

that

" M i n i a t u r e M i s d i r e c t i o n " is n o t a trick. It is

his theories of T i m i n g , the s u b j e c t w a s virtual-

d e s c r i b e d here to illustrate a principle.

ly i g n o r e d by writers. Worse, w h e n the s u b j e c t was

1. Display the ball as shown in Figure 9 1 .

mentioned

a t all,

the writers

oversimplify,

one

question had to be done at a steady pace, or

another

and

also

with

respect

to

the

tabletop.

stating merely

tended to

N o t e the position of the hands with respect to

that the trick in

had to m o v e along in a s m o o t h , continuous sequence,

2 . R o l l t h e b a l l t o t i g h t e n it, F i g u r e 9 2 ,

etc.

I n all

such

cases

the

writers

h a n d s at the edge of the table. T h e n s h o w the

tended to ignore the whole p o i n t of the coor-

ball again with the left h a n d .

dination of w o r d with of the

3. M o i s t e n the tip of t h e right first finger a n d transfer the moisture

eyes, facial e x p r e s s i o n , m o v e m e n t of

the b o d y a n d h a n d s ,

to the ball, Figure

action, the i m p o r t a n c e and so

on. T h e reason

9 3 . N o t e that the ball is n o t c o m p l e t e l y seen

why

at this p o i n t .

i n g i n t h i s c h a p t e r i s p r e c i s e l y t o u n d e r l i n e its

Secretly t a k e the ball with the

i m p o r t a n c e in the p e r f o r m a n c e of Magic.

right h a n d as s h o w n in Figure 9 4 . This is d o n e on the mental count of " O n e . " N o t e in Figure 94

that

during

the the

ball is act

of

As stated before,

taken by the right h a n d apparently

s o m u c h a t t e n t i o n will b e given t o T i m -

technique,

and

the

the key to the Slydini

reason why it inevitably

tightening the

fools even the e x p e r t , is that he d o e s n o t u s e a

ball or m a k i n g it m o r e c o m p a c t . All attention

c o v e r i n g a c t i o n as m i s d i r e c t i o n for a m o v e or

is on the left h a n d d u r i n g this a c t i o n . 4. On

the

count

of

"Two"

the

sleight.

Instead,

the

r e a c h t h e p o s i t i o n o f F i g u r e 9 5 . A g a i n all a t -

with Misdirection,

d r o p p e d b a c k to the rest p o s i t i o n at the edge

lows

an invisible m o v e m e n t that ac-

5. On the

moves

the

count

position

forward

as

of

of

"Three"

Figure

96.

the

The

the hands are b r o u g h t to

fingers.

T h e n bring the

t h e c o n c e p t o f T i m i n g al-

In either case the action occurs at a

reason to e x p e c t a m o v e .

hands

The body

object

of this

section

is

in part to

acquaint the reader with t e m p o , evenness and p r o p e r r h y t h m o f w o r k i n g . I t will h e l p g r e a t l y to w o r k in time to m u s i c that has a steady,

6 . P r e t e n d t o t i g h t e n t h e b a l l still f u r t h e r the

done

p o i n t w h e n the audience is r e l a x e d a n d has no

the center of the table. between

is

y o u to vanish an object or cause it to

appear.

tually allows y o u to lap the p a p e r ball.

reach

action

doing nothing at

all, w h e n t h e h a n d s are i n the rest p o s i t i o n . A s

t e n t i o n i s o n the left h a n d . T h e right h a n d h a s of the table,

secret

when Slydini is apparently

hands

thumbs

not 37

too

fast,

beat.

Slydini works

to

music

timed at about 72 beats per minute.

A t t h e s a m e t i m e t h e b o d y r e l a x e s a n d y o u sit

If you

are unfamiliar with t e m p o , y o u can ask a m u -

b a c k in the chair in a rest p o s i t i o n .

sician or a n y o n e in a g o o d m u s i c store to recommend

recorded

instrumental

that is played

music

(not

vocal

music)

at a t e m p o

of

about

72 beats per minute. Then by practic-

Checkpoints

ing w i t h this t e m p o y o u will l e a r n the c o r r e c t speed at which y o u should work.

( A ) When rest

T h e r e is a w a y to j u d g e the right t e m p o without

position

edge

the use of a m e t r o n o m e or r e c o r d e d

of

the

you

are sitting in the n o r m a l

the

hands

table.

are

resting

you

say

at

the

right h a n d m o v e s

the word

m u s i c . T h i s i s b a s e d o n t h e f a c t t h a t t h e aver-

"Ready . . . "

age pulse or heartbeat is 72 beats per minute.

u p . T h e r e a s o n for this is that w h e n the right

T h u s y o u r o w n p u l s e will give y o u a g o o d i d e a

h a n d d r o p s t o the rest p o s i t i o n after the firing

o f the r h y t h m y o u are striving t o a c q u i r e .

of

the

the

As

imaginary

gun,

it

will

drop

straight

straight

a better i d e a of the

d o w n to the edge of the table again. T h e right

theory, a few additional words m a y be appro-

h a n d relaxes c o m p l e t e l y so that the weight of

priate.

the right arm causes it to drop to the table.

To

give

the

reader

If the reader acts out the m o v e m e n t s

given h e r e he will h a v e a b e t t e r u n d e r s t a n d i n g

(B) The reason

f o r p a n t o m i m i n g t h e fir-

of the c o n c e p t Slydini has developed. To be-

ing of a g u n w i t h the right h a n d is that the

gin with, it is a c c u r a t e to s a y that f r o m Sly-

h a n d n a t u r a l l y stiffens or tenses w h e n firing a

dini's view, T i m i n g is a m o v e m e n t very m u c h

real g u n b e c a u s e i t m u s t resist the recoil. T h e

like the firing of a gun. This graphic c o n n e c -

r i g h t a r m i s stiff, t h e h a n d i t s e l f m u s t c o m e t o

tion is in fact u s e d in his e x p l a n a t i o n s of the

a sharp stop when it reaches the " F i r e " posi-

d e v e l o p m e n t o f p r o p e r t i m i n g t o his s t u d e n t s .

tion.

W e will run t h r o u g h i t i n p a n t o m i m e , w i t h n o

think that y o u are firing a gun. T h u s , the right

object in the hand, as if y o u were going to

h a n d will n a t u r a l l y

give the c o m m a n d , " R e a d y ,

second.

Fire," and were

This

happens

The

naturally

if y o u mentally

freeze for a fraction of a

s y n c h r o n i z e d m o v e m e n t o f the

i n f a c t g o i n g t o fire a n i m a g i n a r y g u n o n t h e

b o d y a n d t h e right h a n d will r e q u i r e p r a c t i c e

command "Fire."

b e c a u s e the b o d y m o v e s forward b u t the right hand m o v e s straight up.

First, there is the matter of tone of voice. Y o u a r e , a f t e r a l l , g o i n g t o fire a g u n s o t h e

(C) T h e eyes are f o c u s e d directly on the

c o m m a n d m u s t be dramatic. This m e a n s that

spectator

you

say,

must

emphasize

the w o r d

" F i r e " when

y o u s p e a k i t ; t h u s , " R e a d y . . . Fire."

(or the audience)

as y o u mentally

" F i r e . " T h u s the m o v e m e n t o f the right

hand

merely

emphasizes

s o m e t h i n g y o u are

S e c o n d , there is the matter of arm, hand,

saying. Again, as described in the section on

a n d b o d y m o v e m e n t . Y o u are sitting i n the

Misdirection, the m o v e m e n t of the right h a n d

rest

is so n a t u r a l a n d u n i m p o r t a n t t h a t it is invisi-

position,

Figure

9 8 . While m a i n t a i n i n g

ble to the audience.

this p o s i t i o n , s a y , " R e a d y . . . . " N o w several m o v e m e n t s are s y n c h r o n i z e d to

flow

word

into

"...Fire,""

one

another.

As

right

hand

the

you

say

moves

( D ) Slydini d o e s n o t allow the right h a n d

the

to rest for very l o n g on the table. As to the

up,

amount

fingers c l e n c h e d in a fist, forefinger e x t e n d e d ,

of

t i m e the right h a n d s t a y s in the

rest p o s i t i o n

on the t a b l e after the firing of

a c t u a l l y m i m i c i n g the act of firing a g u n i n t o

the

t h e air, F i g u r e 9 9 . T h e b o d y l e a n s f o r w a r d a t

ample; suppose

gun,

Slydini

uses

another

graphic

ex-

there were a h o t coin on the

the s a m e t i m e a n d the eyes light u p t o c o n v e y

table ( S l y d i n i refers to it as " h o t i r o n " ) . A n d

enthusiasm.

suppose you

When

you

"fire"

the

the imaginary gun the

were n o t aware of the fact that

coin were h o t . T h e right h a n d d r o p s to

the t a b l e after the firing of the i m a g i n a r y gun,

right h a n d stiffens a n d freezes in p o s i t i o n m o m e n t a r i l y . T h e n , w h e n the g u n h a s b e e n fired,

falling directly o n t o the h o t coin. It takes a

the right h a n d i m m e d i a t e l y relaxes a n d drops

certain

naturally to the edge of the table, Figure 1 0 0 .

the coin is h o t a n d to quickly m o v e the right 38

brief

interval

of time to realize that

hand

away.

here;

the

T h e s a m e principle

at work

the

table

no

d o e s n o t start t o m o v e o n the last w o r d o f the

longer than it w o u l d if y o u suddenly realized

s e n t e n c e ; i t reaches t h e p o s i t i o n o f F i g u r e 1 0 3

right

hand

stays

on

is

the

word

"trick"

was

being said. T h e hand

that the h a n d h a d c o m e to rest on a h o t coin.

on

T h e right h a n d thus d r o p s t o the table, c o m e s

movement

of the h a n d with

the w o r d s

to a c o m p l e t e rest condition, a n d then m o v e s

are

spoken

the

up and a w a y from the table, Figures 1 0 1 a n d

achieves the position of Figure 103 exactly as

102.

the w o r d " t r i c k " is said.

the

last

being

All of these p o i n t s s h o u l d b e c o m e clear in

w o r d . Y o u m u s t c o o r d i n a t e the so

that

right

that hand

3. N o t e a l s o in F i g u r e 1 0 3 the facial ex-

a concrete e x a m p l e of the c o n c e p t of Timing.

pression, order

which mirrors

the w o r d s . A l s o , in

to prevent the right h a n d from m o v i n g

o u t t o w a r d the c e n t e r o f the t a b l e a s i t lifts up to the p o s i t i o n of Figure 1 0 3 , it is necesA p p l y i n g the C o n c e p t o f T i m i n g

sary to s w e e p the h a n d in t o w a r d the b o d y as the

I n S l y d i n i ' s w o r k , a s y o u will s e e , T i m i n g

body

begins

to

lean forward. T h e right

h a n d will t h e n m o v e t o the p r o p e r p o s i t i o n a s

i s all i m p o r t a n t . W i t h o u t i t y o u c a n d e c e i v e

the

the

right h a n d is p r o p e r l y l o c a t e d in Figure 1 0 3 ,

eye

you

perhaps,

can

fects.

b u t n o t the m i n d . With it

perform

seemingly

miraculous

body

comes

rest. To check that the

ef-

y o u can s i m p l y release the ball from the hand.

In the following sequence of vanishing

I t s h o u l d fall s t r a i g h t d o w n i n t o t h e l a p , j u s t

a n d retrieving a ball by m e a n s of T i m i n g , each

m i s s i n g the

step

o f the h a n d l i n g will c o r r e s p o n d t o

table

beat

o f m u s i c . I n all o f t h e p h o t o s t h a t a c -

company

this

eyes

facial

and

force

to

example,

that

these

effects

edge

lands

on

of the table. If it hits the the

tabletop,

your

right

is b a d is that w h e n the right h a n d d r o p s to the table in the rest position, y o u do not w a n t to

that the hands perpetrate.

enough,

or

h a n d i s t o o far f o r w a r d . T h e r e a s o n w h y this

Slydini's

e x p r e s s i o n s r e f l e c t a n d rein-

the illusion

Astonishingly

note

one

have t o m o v e i t b a c k t o the e d g e o f the table.

are

Instead,

the

right

hand

will

simply

drop

achieved w i t h o u t any actual sleight of h a n d or

straight d o w n to the edge of the table. As the

moves.

right h a n d reaches the p o s i t i o n of Figure 1 0 3

The

entire

sequence depends simply

on T i m i n g and acting ability.

the right t h u m b rolls the ball forward to better d i s p l a y t h e ball. 4. When tion

Timing—A Simple Routine

of

"shooting be

right

hand at the

substituted.

Hold

earlier;

the object in the

fingertips.

1 0 3 , the h a n d a n d the b o d y

freeze for a fraction of a s e c o n d . T h i s is the

1. A p a p e r ball is u s e d . A n y small o b j e c t may

the right h a n d reaches the posi-

Figure the

for

a

gun" fraction

technique

mentioned

of a s e c o n d the right

h a n d a n d the b o d y are a b s o l u t e l y m o t i o n l e s s .

B o t h h a n d s are

5 . N o w y o u are g o i n g t o d r o p the right

resting on the table. T h e audience can clearly

hand to

see the o b j e c t (a p a p e r ball in this e x a m p l e ) .

drops straight d o w n to the tabletop, the b o d y

2 . Y o u are n o w g o i n g t o d i s p l a y the ball.

moves

the rest p o s i t i o n . As the right h a n d back;

the

performer's

back

contacts

T h e b o d y leans forward. A t the s a m e t i m e the

the b a c k of the chair j u s t as

right h a n d arches up to the p o s i t i o n of Figure

c o n t a c t s the t a b l e t o p . T h e p o s i t i o n is s h o w n

1 0 3 . T h e right h a n d d o e s n o t m o v e forward.

in

I t m o v e s u p t o a b o u t s h o u l d e r height a s indi-

eyes are bright, reinforcing the w o r d s " a b e a u -

cated in Figure

tiful

1 0 3 . If a p a t t e r line a c c o m -

Figure

and

h a n d u p w a r d is m a d e on the last w o r d of the

position.

sentence.

For example,

"This

a

is

beautiful

if y o u were to say,

trick,"

the

1 0 4 . N o t e that in Figure 1 0 3 the

trick," whereas in Figure

p a n i e s this action, the m o v e m e n t of the right

the

the right h a n d

face

are

relaxed

1 0 4 the eyes

to mirror the rest

6. T h e w h o l e b o d y is r e l a x e d . T h e right

right h a n d

hand

w o u l d m o v e to the p o s i t i o n of Figure 1 0 3 as

simply

Figure 39

104.

rests

on the table as s h o w n in

As s o o n as the right h a n d con-

Producing the Ball by T i m i n g

tacts the t a b l e t o p , the ball is secretly released a n d a l l o w e d t o fall i n t o the l a p , F i g u r e 1 0 5 .

1 2 . Y o u are n o w g o i n g t o d r o p the h a n d s

T h e right h a n d d o e s n o t release the ball after t h e h a n d c o n t a c t s t h e t a b l e t o p ; t h e b a l l i s re-

to

the

l e a s e d as the right h a n d c o n t a c t s the t a b l e t o p .

dropping them, Slydini does an extra " m o v e "

rest position.

But

instead

of simply

1 0 4 that a l t h o u g h the

that m a k e s the action m u c h m o r e natural. He

move is being made, Slydini continues to look

shrugs his s h o u l d e r s , s a y i n g , " T h a t ' s a l l , " as in

7. N o t e in

Figure

directly at the audience. He does not blink or

Figure 1 1 2 , a n d only then do the hands drop

look away. T h e eyes remain steadily focused

t o the rest p o s i t i o n . T h e right h a n d d r o p s t o

on the audience.

the lap a n d the left h a n d d r o p s to the e d g e of

8. N o t e

in

Figure

105

that

the

the

right

table

as shown in Figure

t h u m b a n d first finger d o n o t shift p o s i t i o n o r

says,

"That's

m o v e ; t h e y a c t a s i f t h e y still h o l d t h e p a p e r

move

back.

This

ball. N o t e also that the right h a n d is slightly

straight

down

to

turned

inward.

from

Figure

right

hand

the wrist.

What

103

happens

to

Figure

from y o u r point shown without

is

actually

tabletop.

concealed

and

the b o d y

hands

to

drop

the position of Figure

110.

The

of view the trick is n o t yet

over. T h e right h a n d grasps the l a p p e d ball as

right thumb

the

1 3 . P e o p l e will t h i n k t h a t this is the e n d

ball in so that it is b e h i n d the h a n d j u s t as the the

allows

o f the trick, s o t h e y will m e n t a l l y r e l a x . B u t

turns inward slightly, rotating at

reaches

1 1 0 . When he

hands

move

you

B u t also, the right t h u m b rolls the

hand

the

is that the

as 104

all,"

right

in

Figure

111.

fumbling

is

The way

to

drop

straight d o w n ; when the

from the audi-

to

do

this

the right h a n d

right h a n d is b e l o w

ence's view when y o u reach the position of

the level of the t a b l e t o p , the fingers s p r e a d .

Figure

With

104.

The

thumb

rolls the ball b a c k .

the

bound

T h e r i g h t f i n g e r s d o n o t m o v e a t all.

fingers

wide

apart

one

finger

is

t o c o n t a c t the l a p p e d ball. T h i s tells

y o u its l o c a t i o n i m m e d i a t e l y . T h e ball i s t h e n

9 . T h e right h a n d and arm m u s t b e c o m pletely r e l a x e d when they reach the rest posi-

grasped

tion

right h a n d is then

right arm in the s e q u e n c e from Figure 1 1 0 to

" L o o k . " T h e right

Figure 1 1 1 .

of Figure

104.

raised again as y o u hand reaches

The say,

the p o s i t i o n o f Figure 1 0 6 j u s t

as

beautiful?"

a c o p y of Figure

the

1 0 3 , b u t n o t e that the b a c k

of the right h a n d is t o w a r d the a u d i e n c e ; the right

thumb

is

completely

screened

by

Figure

111. Don't move

the

14. Y o u are n o w g o i n g t o say, " I s n ' t that

a s y o u say, " L o o k . " Figure 1 0 6 m a y l o o k like

b a c k of the right h a n d .

in

hands

As will

the

word "beautiful" is said

reach

the p o s i t i o n of Figure

1 1 2 . A s the right h a n d m o v e s u p from the l a p ,

the

the fingers roll or p u s h the p a p e r ball to the

T h e b o d y l e a n s for-

palm

position

shown

in

Figure

113.

The

w a r d a n d the facial e x p r e s s i o n is the s a m e as

hands m o v e in close to the b o d y , closer than

in Figure 1 0 3 , b u t the right h a n d is e m p t y .

s h o w n in the e x p o s e d view of Figure 1 1 3 .

10. N o w

the

right

hand

deposits

the

15. R e m e m b e r that as

Both

the

s p o k e n , the hands reach the position of Fig-

c e n t e r o f the t a b l e . T h e left h a n d turns p a l m -

u r e 1 1 2 a s t h e last w o r d i s s p o k e n . T h e b o d y

now

move

forward

toward

the

hands

or

"Isn't

d o w n , a n d the right h a n d rubs the b a c k of the

and

left h a n d , F i g u r e 1 0 8 .

p o s i t i o n m e n t i o n e d earlier.

freeze

in

that

"Isn't

that

hands

beautiful,"

the words,

i m a g i n a r y b a l l i n t o the left h a n d , F i g u r e 1 0 7 .

the

terrific," are

shoot-the-gun

1 1 . T u r n the left h a n d p a l m u p (still k e e p -

16. T h e h a n d s then drop to the rest posi-

ing the h a n d c l o s e d ) a n d w a v e the right h a n d

tion at the e d g e of the table as s h o w n in Fig-

o v e r it. D o n o t b e i n a h u r r y t o o p e n t h e left

u r e 1 1 4 . Y o u still l o o k a t t h e a u d i e n c e a s t h e

h a n d . Wave the right h a n d over it t w o or three

hands drop to the rest position.

times. T h e n o p e n the h a n d s to s h o w that the

17. N o w p r e t e n d that there is s o m e t h i n g

ball h a s vanished. T h e h a n d s are p a l m t o w a r d

off to

the audience w h e n they are o p e n e d to s h o w the

s h o w n in Figure 1 1 4 . T h e n reach out with the

the

right.

Look

in

that

direction

as

ball is g o n e . T h e h a n d s then turn at the wrists

right h a n d , b a c k o f the h a n d t o the a u d i e n c e .

t o s h o w the b a c k o f the h a n d s ,

T h e ball

Figure 109. 40

is

rolled

to

the

fingertips an d the

right

hand

turned to the p o s i t i o n

of Figure

l o o k a t w h a t the h a n d s d o . T h u s , w h e n mere-

1 1 5 to display the ball.

ly displaying the ball as in Figure 103, y o u l o o k at

the

audience.

But

when

putting the ball

i n t o the left h a n d , F i g u r e 1 0 7 , the e y e s l o o k at w h a t the h a n d s are doing. Checkpoints

( F ) T e m p o should be such that the movements

are graceful a n d p r o c e e d w i t h o u t hesi-

tation. T h u s , when y o u reach the position of

( A ) T h e ball need n o t be p r o d u c e d as in F i g u r e 1 1 5 . T h i s is s h o w n m e r e l y for the pur-

Figure 1 0 3 , y o u d o s o o n the b e a t o f " O n e . "

pose

When the hands m o v e or drop to the position

of

illustrating

With the ball

a possible

application.

of

or other object p a l m e d in the

Figure

104,

it

is

done

on

the b e a t

of

right h a n d y o u can p r o c e e d with any routine

" T w o . " When the right h a n d m o v e s u p t o the

that w o u l d m a k e u s e o f this s e q u e n c e .

position of Figure 1 0 6 , it is d o n e on the beat be

of " T h r e e . " This One-Two-Three t e m p o can

object is to be

be done in time to music. T h e actions of Fig-

retrieved secretly. N o t e that the m o v e m e n t of

u r e s 1 0 7 , 1 0 8 , 1 0 9 are s l o w e r , since y o u are

the

ad-libbing to a certain e x t e n t .

(B) The u s e d in

handling just

any

trick

where

body—whether

it

is

outlined

an

leaning

can

forward

or

back—strengthens the illusion i m m e n s e l y .

(G) T h e dramatic m o v e m e n t of the hands

(C) T h e w o r d s s p o k e n in S t e p 2 need not be used.

is a c c o m p a n i e d by s p o k e n w o r d s . If the hands

F o r e x a m p l e , y o u can say, " I ' m go-

m o v e , say, from the position of Figure 1 0 9 to

ing to s h o w y o u s o m e t h i n g that y o u ' v e never

Figure 1 1 0 t o Figure 1 1 2 , there m u s t b e s o m e

seen b e f o r e . " T h e r e are m o r e w o r d s here than

motivation. Otherwise the m o v e m e n t s appear

in

contrived.

the

must

move

Figure hand

original

example,

more

slowly

so

the

to

the

right h a n d position of

(H) T h e weight of the right arm is what

1 0 3 . T h e t i m i n g i s s u c h that the right

reaches

this

position just

as

you

causes

say,

it

to

fall

to

the lap.

It is,

in

other

w o r d s , as if the right a r m s u d d e n l y w e n t d e a d

". . . b e f o r e . " A n o t h e r e x a m p l e : " T h i s ball is

a n d d r o p p e d to the lap.

going

r i g h t a r m r e a c h e s t h e full r e s t p o s i t i o n o f F i g -

to

disappear

right

in

front

of

your

It is only after the

e y e s . " T h e right h a n d reaches the p o s i t i o n o f

ure

Figure

view again in the gesture of 1 1 2 .

103

just

as

you

say

the

word

110

that

the

right h a n d c o m e s up into

" . . . e y e s . " I n all c a s e s t h e r i g h t h a n d f r e e z e s for

a

fraction

of a s e c o n d

as in the earlier

e x a m p l e of the firing of a gun. (D) Any to

the lap,

example, Figure

time the

with

the

The Revolve

the right h a n d m u s t drop

body

must move back.

hands

For S l y d i n i d e v i s e d this third c o n c e p t for the

in the p o s i t i o n of

specific p u r p o s e

1 0 9 , that is, b o t h h a n d s near the cen-

ter o f t h e

though

table, y o u w a n t t o m o v e the right

hand back naturally.

Y o u cannot

the

of vanishing an object. Al-

basic

m o v e has b e e n briefly de-

d o this b y

s c r i b e d b e f o r e , this is the first t i m e t h a t the

arcing the right h a n d b a c k a n d into

S l y d i n i " R e v o l v e " h a s b e e n p r o p e r l y a n d fully

the lap; it m u s t be done as part of a natural

d e s c r i b e d in print. It is a versatile, c o m p l e t e l y

m o v e m e n t of the b o d y m o v i n g b a c k to a rest

deceptive m o v e , and one of the m o s t impor-

position;

tant m o v e s in the Slydini repertoire.

abruptly

the

movement

of the b o d y causes

the right h a n d to be p u l l e d along so that it

As is the case with a n y t h i n g Slydini per-

clears the edge of the table in a natural man-

forms,

ner. T h e c o n t i n u i n g m o v e m e n t is for the right

been

h a n d to then d r o p into the lap.

quaint

the

basic

premise

o f this m o v e h a s

a n a l y z e d to the smallest detail. To acthe

reader

with

the

fundamentals

of

( E ) T h e facial e x p r e s s i o n , particularly the

t h e R e v o l v e , w e will f i r s t d e s c r i b e t h e c o n c e p t

w a y t h e e y e s a r e d i r e c t e d , i s all i m p o r t a n t . A s

with no object in the h a n d so that the reader

in

any natural action

can

(the p l a c e m e n t of the

pantomime

the

stands the handling.

ball into the left h a n d , for e x a m p l e ) the eyes 41

actions

until

he

under-

3, above exactly as described. The appearance

Y o u are s e a t e d i n the b a s i c rest p o s i t i o n . T h e left h a n d i s p l a c e d p a l m u p o n the table

from

the

as shown in

there

is nothing in

Figure

116. T h e position of the

front

must

be

the

the

same

left h a n d .

as

when

When y o u

left h a n d in relation to the e d g e of the t a b l e is

p r a c t i c e the m o v e , s t u d y its a p p e a r a n c e w i t h a

the m o s t critical part of the handling. To find

m i r r o r i n front o f y o u . L o o k a t the left h a n d

the

to be sure the h a n d m o v e s naturally.

correct

slightly.

position,

clench

the

left

hand

T h e n rest the b a c k o f the left h a n d

2. When the hand reaches the position of

on the table in such a w a y that the knuckle of

Figure

the little finger rests

left h a n d then begins t o m o v e f o r w a r d , Figure

tabletop.

against the edge of the

T h e h a n d is slightly clenched

only

1 2 0 , the ball drops into the lap. T h e

1 2 1 . T h e i m p o r t a n t p o i n t here i s that the left

for the p u r p o s e of finding the c o r r e c t p o s i t i o n

fingers

o f the left h a n d . I n actual p r a c t i c e y o u w o u l d ,

y e t l o s e c o n t a c t w i t h the t a b l e t o p , a s y o u will

of

see if y o u e x a m i n e Figures 1 2 0 and 1 2 1 .

course,

know

the p r o p e r p o s i t i o n

of the

left h a n d a u t o m a t i c a l l y .

a n d the

3. The

1. Assuming y o u have

moving

f o u n d the p r o p e r

heel

result

o f the left h a n d d o n o t

of this

action

forward a n d the

of the h a n d

fingers a n d heel

p o s i t i o n for the left h a n d , the left h a n d rests

the

in

t a b l e t o p is that the h a n d naturally curls into a

a palm-up

condition

as

shown

in F i g u r e

the

4 . T h e left a r m n o w m o v e s f o r w a r d . I t i s

T h e r e a s o n for this is t h a t later the

of

fall m o r e

the

hand

are

left h a n d t o m o v e

naturally to a r e l a x e d or

fingers

rest p o s i t i o n . 2 . Y o u n o w h a v e t o think

forward,

curl naturally

the

think the m o v e m e n t in order for the h a n d to

shown in Figure 123.

left

hand

begins

slap

to pivot at the

hand

up

complete

from

the

the tabletop

vanish

of

the

as

ball,

the left h a n d p a l m - o p e n o n t o the center

t h a t the ball h a s v a n i s h e d . When t h e left h a n d

that if the left h a n d starting p o s i t i o n is and

lifts

T h e r e are other w a y s of handling the fact

completely to rest as indicated in Figure 1 1 8 . thumb

Figure 123. The

the left h a n d m o v e s

of the table, F i g u r e 1 2 4 . T h e ball is g o n e .

wrist as s h o w n in Figure 1 1 7 , a n d then c o m e s

the

left

5. To

m o v e naturally. 3. T h e

as

across the table. When the fingers are c l o s e d ,

of allowing the

l e f t h a n d t o fall t o a r e s t c o n d i t i o n . Y o u m u s t

correct

the

the m o v e m e n t of the left a r m that c a u s e s the

h a n d will

Note

with

strained

muscles

slightly.

contact

r e l a x e d fist, Figures 1 2 1 , 1 2 2 , 1 2 3 .

1 1 6 . T h e h a n d i s o p e n t o its fullest e x t e n t s o that

left h a n d remaining in

of

reaches

first f i n g e r w i l l c o m e

the position

of

Figure

1 2 3 , for ex-

t o rest j u s t a t the e d g e o f the t a b l e . T h e left

a m p l e , y o u can slowly o p e n the left h a n d t o

fingertips c o n t a c t the table at this p o i n t in the

s h o w the ball is gone.

handling.

R e m e m b e r that the

L e a r n the s e q u e n c e w i t h o u t a coin or any

to vanish

other o b j e c t in the left h a n d . T h i s is the only way

to

get

an

the c o r r e c t feel o f t h e R e v o l v e .

and

next pages.

it

object

can

be

re-

explained, or through the use of another Slydini creation,

perform

Revolve is used only

The

trieved via T i m i n g or Misdirection, as already

When y o u think y o u u n d e r s t a n d the s e q u e n c e can

object.

without hesitation, y o u

the I m p Pass, described in the

are r e a d y to p r a c t i c e with a ball or a c o i n in the left h a n d . A l t h o u g h a p a p e r ball is u s e d in F i g u r e 1 1 9 , a n y s m a l l o b j e c t m a y b e u s e d instead.

Checkpoints (A) When

the

left h a n d in F i g u r e for

Details of The Revolve

a

second.

hand proceeds 1.

Place

the

paper

ball

on

the

off the

out-

table,

object is displayed in the 1 1 9 , it is displayed only

From

that

point

o n , the left

w i t h o u t p a u s e to close, raise a n d slap the table to s h o w the

object is gone.

s t r e t c h e d left p a l m as i n d i c a t e d in F i g u r e 1 1 9 . T h e n go t h r o u g h the s e q u e n c e of S t e p s 1, 2,

( B ) T h e heel o f the left h a n d m u s t r e m a i n 42

in contact with ping

the

sequence

tabletop

depicted

left h a n d d r o p s to the l a p , F i g u r e 1 2 7 , A view

during the lap-

in

Figure

117

from the front is s h o w n in Figure

and

128. The

1 1 8 . O t h e r w i s e the l a p p i n g o f the o b j e c t will

hands reach

be flashed to the audience. T h e c o m m o n mis-

s a m e time that the performer's b a c k contacts

their respective p o s i t i o n s

at the

t a k e b e g i n n i n g s t u d e n t s m a k e i s t o b e g i n rais-

the b a c k of the chair. Y o u are thus in the rest

ing the h a n d o f f the table as s o o n as the h a n d

position.

The

closes.

Steps

and

This

tips

the m o v e a n d destroys the

illusion.

1

reason

why

y o u lean b a c k in

2 is so the left h a n d can d r o p

straight d o w n to the lap. 3. T h e left h a n d fingers are s p r e a d as the left h a n d d r o p s to the lap. T h i s allows the left fingers to find the coin. T h e coin is g r a s p e d T h e I m p Pass

between

the left t h u m b a n d fingers. T h e left

arm does n o t m o v e as the coin is taken beThe Imp

Pass

is

a move

of great versa-

tween t h u m b and fingers.

tility. T h e m o v e w a s k e p t c o m p l e t e l y secret

4. Now

say,

" A n d n o b o d y knows where

for m a n y years, a n d was n o t revealed ( e x c e p t

it i s . " C o n t i n u e l o o k i n g at the spectators as

t o a f e w c l o s e f r i e n d s ) u n t i l S l y d i n i w r o t e Sly-

y o u say this. T h e r i g h t h a n d gestures i n t i m e

dini Encores.

to the w o r d s , the arm reaching the p o s i t i o n of

It is

one

of the g r e a t i n v e n t i o n s

in the art of c l o s e - u p m a g i c , a n d fully reflects Slydini's grasp

unique

the

genius.

move

and

In

the

order

to

thinking

Figure 1 2 9 as y o u say the w o r d , ". . . i s . "

better

behind

5. As

it

soon

sentence,

the

as you

right

have

hand

completed

drops

the

b a c k to the

that m a k e s it so c o m p l e t e l y illusive, a m o r e

table, b u t it arcs or h o o k s b a c k to the edge of

detailed description is necessary. T h e text be-

the table, reaching the p o s i t i o n of Figure 1 3 0 .

low,

K e e p y o u r e y e s o n t h e a u d i e n c e a t this t i m e ,

plus

exact

the

detail

new photographs,

just

how

this

move

describe in is

accom-

Figure

131.

D o n o t change the facial expres-

plished. T h e I m p Pass, d o n e well, is indetect¬

sion as the right h a n d d r o p s to a rest p o s i t i o n

able, even to magicians. There is no m o v e , no

e x c e p t to slightly relax the e x p r e s s i o n .

unnatural action as the I m p Pass is p e r f o r m e d .

6. When

I t s b a s i c f u n c t i o n is as a r e t r i e v a l a f t e r a coin

or

other

tabletop,

object has been vanished. We

extended,

will a s s u m e t h a t a c o i n is b e i n g u s e d , a n d t h a t

outlined

the in

Revolve,

this b o o k .

or

ary

Y o u then p r o c e e d as

is

Figure

130,

contacts

and

the

forefinger are

ready

to

receive

the

during

the

crucial

move.

T h e left h a n d

pivots at the wrist as the right h a n d begins to drop

coin

hand

7. T h e left arm is k e p t a b s o l u t e l y station-

other approaches

follows. 1. T h e

right

right t h u m b

coin.

it has been vanished according to T i m i n g , Misdirection,

the

the

in the lap. After c a u s i n g

to

exact

the coin to vanish, brush the hands to empha-

the

instant

tabletop. T h e hands m e e t at the the

right

hand

contacts

the

t a b l e t o p i n F i g u r e 1 3 0 . T h e r e can b e n o hesi-

size that they are e m p t y , Figure 1 2 5 . L o o k a t

tation

the audience. G r a d u a l l y the b o d y m o v e s b a c k

ing

is

with the h a n d s . S a y , " T h a t ' s all," as the b a c k s

kill

the illusion. In o r d e r to k e e p the left a r m

of the hands are s h o w n to the audience, Fig-

s t a t i o n a r y , p r e s s it against the left side. It is

ure 126.

essential to the illusion that the m o v e m e n t of

2. Lean

back

in

the

the chair. A t the s a m e

reach

the

ously.

about

eight

inches

from

the near

all-important

hands

t i m e the h a n d s d r o p ; the right h a n d d r o p s to table

o r f u m b l i n g a t this p o i n t b e c a u s e tim-

the

is

here

synchronized.

position of Figure

e d g e . T h e r e a s o n the right h a n d d r o p s t o this

right hand

p i v o t the left h a n d up

condition

the

the a u d i e n c e that the right h a n d is edge

The hands must 130 simultane-

T h e c o m m o n m i s t a k e is to allow the

position a w a y from the edge of the table is to nowhere near the

a n d h e s i t a t i o n will

right

to

drop

hand.

to

This

the tabletop and then to is

feed the c o i n into

wrong and

the ten-

d e n c y t o a p p r o a c h the m o v e this w a y s h o u l d

of the table. T h e n in

b e t h e first t h i n g y o u s e e k t o a v o i d .

step 5, w h e n the right h a n d d r o p s to the edge o f t h e t a b l e , t h e a u d i e n c e will n o t n o t i c e . T h e

8. T h e left h a n d , c o n t i n u i n g the p i v o t i n g 43

action to the position of Figure 1 3 0 , m o v e s to

produced

the left as the b o d y swings to the left, F i g u r e

neck, etc.

from

the

elbow,

from behind

the

1 3 2 . T h e r e c a n b e n o hesitation a t this p o i n t regarding the m o v e m e n t o f the left h a n d . T h e left h a n d p i v o t s a t the wrist t o the p o s i t i o n o f

Checkpoints

Figure 1 3 0 , and in a continuing action m o v e s off t o the left.

Y o u should not have to stop

and

think

about

feeding

coin

f r o m left h a n d

to

or

(A) In Figure

transferring the

128 it is important to em-

phasize that the b o d y is

right; the instant the

turned m o r e to the

left than in the n o r m a l starting p o s i t i o n . This

hands m e e t in the position of Figure 1 3 0 , the

allows

transference

left

t a b l e a s s h o w n i n F i g u r e 1 2 8 , a n d i n turn will

hand continues moving, n o w sweeping to the

later allow the right h a n d to d r o p naturally to

left as if to p l u c k an invisible c o i n f r o m the

the position of Figure 1 3 1 .

of

the

coin

is

made.

The

air; F i g u r e 1 3 3 is a v i e w as the a u d i e n c e s e e s

the

right arm

(B) After Step

it.

to rest naturally on the

7 , the left h a n d n e e d n o t

m o v e o u t t o the left. I t c a n m o v e f o r w a r d a n d 9. T h e m o t i v a t i o n for y o u r a c t i o n s is that

onto

the

table,

where

it picks

up

a wand,

y o u p l a c e d o r h u n g a n i n v i s i b l e c o i n i n t h e air

playing card,

somewhere

left a n d y o u are n o w

T h e left h a n d s h o u l d n o t , o f c o u r s e , c o m e t o

for it with the left h a n d . T h e

rest on the table since there is no reason for it

off to

going to reach

the

etc.,

d e p e n d i n g on the routine.

left h a n d a n d the b o d y s w i n g t o the left a s i f

t o d o s o , a n d thus this m o v e w o u l d l o o k un-

to take the coin. T h e eyes a n d facial expres-

natural.

But

if

sion m u s t reflect this.

tabletop

to

pick

1 0 . When the left h a n d gets t o the p o s i tion shown in

Figure

1 3 3 , it stops abruptly.

A c t as if y o u suddenly r e m e m b e r e d that y o u

flow

of

with

the

attract

the

the

move

left

up is

hand

moves

to

the

s o m e other object, the completely

in keeping

p r e v i o u s h a n d l i n g a n d thus will n o t

attention.

didn't p u t the coin there. Y o u say, " N o w wait

Y o u can say, " E v e r y t h i n g h a p p e n s at the

a m i n u t e . " T h e b o d y backs up and y o u reach

snap of the fingers" in the position of S t e p 4,

inside the j a c k e t with the right h a n d a n d pro-

s n a p p i n g the fingers, Figure

duce

". . . s n a p

the

coin.

The

coin

can, of course, be

44

"

134, as y o u say

5 Applying the Concepts H I S is one of several chapters that

s p e c t a t o r ' s m i n d , a n d that i s i n d e e d far m o r e

sets

profound.

this

Here

you

cepts chapter have routines.

book

apart

will

from

find

that

in

the

discussed

others.

the

conFirst Routine

previous

been incorporated into specific

The

routines

are

short

and

T h i s first e x e r c i s e illustrates h o w t o vanish

easy.

an

object by T i m i n g a n d p r o d u c e it via the

Their p u r p o s e is to teach the student h o w to

I m p Pass. A packet of matches is u s e d here

use the c o n c e p t s in routines, h o w it is possible

but

to build and develop elegant close-up magic

w o r k s j u s t as well with any other small object.

without complicated moves. If y o u have mas-

There

tered

micks.

you

a concept

and k n o w h o w to

are l i m i t e d

a p p l y it,

only by your imagination in

it

should is

be

stressed

no palming and

that there

the

routine

are no g i m -

T h e routine is a brief excursion into

the realm of natural m a g i c . P e r f o r m e d entire-

e x p l o i t i n g the potential of that c o n c e p t .

ly i m p r o m p t u ,

either before a few friends or

in front of a large gathering, it is a q u i c k b u t It is n o t necessary to stay within the strict

brilliant e x a m p l e o f m a g i c i n its p u r e s t f o r m .

guidelines d i s c u s s e d in the p r e v i o u s chapter. A book—any

book—can

only

number of possibilities.

describe

You

a

1. While

finite

seated

at

the

table, p i c k up a

packet of matches as shown in Figure 135.

can improvise,

2. Display the m a t c h e s as s h o w n in Fig-

devise n e w m o v e s and bits of business to be

ure

w o r k e d in with the basic c o n c e p t s . A particu-

q u e n c e w h e r e b y an object is a b o u t to be van-

larly fine e x a m p l e of i m p r o v i s a t i o n is t h e final

ished by Timing.

e x e r c i s e in this c h a p t e r w h e r e S l y d i n i devel-

3. T h e right h a n d

o p e d a deceptive m e t h o d of vanishing a glass,

No patter is

bit of handling to c a u s e the glass to re-appear.

if he understands the concept of Timing.

restaurant, the trick l o o k s m i r a c u l o u s ; a solid

4. T h e right h a n d raises as y o u apparently

g l a s s e v a p o r a t e s i n t o t h i n air a n d m y s t e r i o u s l y it uses

only

the

given here, b u t the s t u d e n t can

easily p r o v i d e a p p r o p r i a t e p a t t e r at this p o i n t

C a s u a l l y p e r f o r m e d at the dinner table or in a

Since

d r o p s to the t a b l e t o p ,

Figure 137, allowing the m a t c h e s to be l a p p e d .

then u s e d the c o n c e p t of timing and an extra

re-appears.

1 3 6 . N o t e that y o u are entering the se-

display the matches again, Figure 138.

glass, no

5. N o w the right h a n d apparently places

gimmicks, no cardboard covers, no elaborate

the m a t c h e s into the left h a n d , F i g u r e s 1 3 9 ,

swings of the b o d y to misdirect the audience,

1 4 0 , 1 4 1 , 1 4 2 . N o t e i n Figure 1 4 2 that the

the trick has t r e m e n d o u s i m p a c t .

right h a n d is clearly s h o w n e m p t y . T h e audience thus a s s u m e s that the p a c k e t of m a t c h e s

All

of

the

routines

in

this chapter—and

m u s t b e i n the left h a n d . T h e left h a n d i s r a i s e d

i n d e e d , in this b o o k — a r e c h a r a c t e r i z e d by the

a b o v e the table, so n o t only are the m a t c h e s

s a m e direct, o p e n handling. T h e y are simple

in the left h a n d , they have n o w h e r e to g o .

b e c a u s e their m a i n o b j e c t is to teach the read-

6. Wave the right h a n d over the left h a n d ,

er h o w to apply the concepts he has m a s t e r e d ,

Figure 1 4 3 . T h e n slowly o p e n the h a n d s , Fig-

but

ure 1 4 4 , to s h o w that the m a t c h e s have inex-

they

are

not

childish

or obvious. Once

m a s t e r e d , t h e y will give the r e a d e r the r e p u t a -

plicably vanished.

t i o n for i n c r e d i b l e s l e i g h t - o f - h a n d a b i l i t y . T h e

7. N o w y o u s m o o t h l y enter the I m p Pass

r e p u t a t i o n i s o n l y h a l f - t r u e ; y o u will h a v e de-

phase

veloped

match packet.

an

incredible

ability,

but it is

not

manipulative; it is the ability to control the

of the routine

for the retrieval

that the m a t c h e s have vanished, 45

of the

Brush the h a n d s to emphasize Figure 145.

8. T h e n d r o p the hands to the I m p Pass position indicated in Figure hand secretly

grasps

the

by Timing. S a y , "Isn't that n i c e ? " As y o u say

1 4 6 . As the left

m a t c h p o c k e t , the

this,

the hands

gesture

as

shown in

Figure

154.

T h e ring is actually in the right h a n d at

right h a n d raises. G e s t u r e with the right h a n d ,

this p o i n t , b u t b e c a u s e the right h a n d is h e l d

Figure

up

1 4 7 , as y o u say, "Wasn't that some-

thing?" 9. T h e right h a n d d r o p s to the table, Figure

6.

1 4 8 . T h e left h a n d i m m e d i a t e l y a n d se-

cretly

as

indicated,

the

p r e s e n c e of the ring is

concealed.

feeds

the

match

packet

to

the

the

right

T h e h a n d s drop to the rest p o s i t i o n on

table,

ring by

h a n d using the I m p Pass. 1 0 . T h e left h a n d reaches o u t t o the left

Figure 1 5 5 . Y o u then p r o d u c e the

any

appropriate

shows

the

hand,

Figure

157

shows

and finds nothing. T h e n the right h a n d m o v e s

from behind the lapel.

to

produced

the

lapel

and

produces

the

packet

of

matches,

means;

Figure

ring b e i n g p r o d u c e d b y

from

156

the right

it being produced

It can,

of course, be

t h e w a l l e t , the s p e c t a t o r ' s la-

pel, etc., d e p e n d i n g on the routine.

T h e effectiveness

o f this r o u t i n e c a n n o t

Note

that the o b j e c t o f this r o u t i n e i s t o

b e g a u g e d m e r e l y b y r e a d i n g it. C a s u a l l y per-

s h o w a simple exercise that c o m b i n e s the d e -

f o r m e d , a b s o l u t e l y free o f s u s p i c i o u s a c t i o n s ,

m e n t s of T i m i n g a n d Misdirection. T h e article

the routine d o e s not p r o d u c e the aura of an

y o u use can be a ring as described a b o v e , or it

intent to deceive. T h u s the m a g i c j u s t s e e m s

can be any small object such as a die, a crum-

to h a p p e n , a n d for this r e a s o n the routine is

p l e d dollar bill, a n d so on.

exceptionally strong. Third

Routine

Second Routine Here a ball is vanished and p r o d u c e d , then

Vanish and Production of a R i n g

vanished again a n d p r o d u c e d again. It is a fast, impossible-seeming routine ideal as an opener f o r a t a b l e r o u t i n e . I t u s e s all f o u r b a s i c c o n -

This routine uses Misdirection and Timing

cepts.

to v a n i s h a n d r e p r o d u c e a b o r r o w e d ring. 1. Begin

by

displaying

the

ring

in

1. Display

the

right h a n d , Figure 1 4 9 . 2. Pretend Figure

150,

to but

the

ball

on

the

left p a l m as

shown in Figure 158.

place

it

in

the left h a n d ,

retain

it

in

the right h a n d

2. T u r n the h a n d p a l m d o w n a n d perform the Revolve,

Figure

1 5 8 . N o t e the left h a n d

using the approach implied in Figure 7 0 . Y o u

appears

t o h o l d the ball. T h e left h a n d c o n -

n o w e x t e n d the c l o s e d left h a n d as s h o w n in

tinues t o m o v e o u t t o the center o f the table

Figure 1 5 1 . T h e b o d y leans t o the left a n d the

as if it held the ball, F i g u r e 1 6 0 , a n d the left

right h a n d naturally c o m e s to rest at the edge

h a n d s l a m s d o w n o n the table, Figure 1 6 1 , t o

of

s h o w that the ball has vanished.

the

table

in the p o s i t i o n of m i s d i r e c t i o n

shown in Figure 1 5 1 . 3. T h e

ring

is

3. Slap the hands. released

and

allowed

you

to

d r o p secretly into the l a p . T h e left h a n d then

hand.

The

left

hand

is

B a c k up the b o d y as

show both hands empty, Fig-

4 . T h e h a n d s d r o p t o the rest p o s i t i o n o f

ter o f the table. T h e right h a n d w a v e s over the left

to

ure 1 6 2 .

m o v e s to a p a l m - d o w n c o n d i t i o n over the cenclosed

gesture

F i g u r e 1 6 3 a s the left h a n d g r a s p s the ball.

then

5. T h e right h a n d

(and the b o d y )

swing

o p e n e d to s h o w the ring has vanished. B o t h

to the right,

h a n d s gesture to s h o w the ring is n o t in either

not move. Then move

hand, Figure 152.

left, F i g u r e 1 6 5 . T h e left h a n d s i m u l t a n e o u s l y

4. D r o p the hands to the rest position of Figure

Figure

1 6 4 . T h e left h a n d d o e s the

right h a n d t o the

m o v e s up into view, b a c k of the h a n d to the

1 5 3 . T h e right h a n d retrieves the ring

audience.

from the lap.

The

hands

meet

at

the

position

shown in Figure 1 6 5 . This action is in accor-

5 . Y o u are n o w going t o p r o d u c e the ring

d a n c e with the Misdirection s e q u e n c e . 46

6. T h e

left

hand

turns

so it is palm-to-

T h e right h a n d d r o p s t o the table t o c o n d i t i o n

right

hand,

Figure

the

palm

with

the

right

hand

steals

the

ball

166. The

audience

to

the

fact

that

the right h a n d

n o r m a l l y d r o p s t o this rest p o s i t i o n . T h e right

as it moves away

f r o m the left h a n d . T h e left h a n d c l o s e s a s i f

hand is

it held the ball. T h e position n o w is s h o w n in

d r o p p e d to the rest position, Figure 1 7 9 . It is

Figure 1 6 7 , the position of Misdirection.

at

7. The

left

hand

precisely

ball

then pretends to throw

t h e b a l l i n t o t h e air, F i g u r e

raised,

is

Figure

this

178, then once more

point,

secretly

n o t earlier,

loaded

that

the

or fed into the right

hand.

1 6 8 . T h e ball is

n o w p r o d u c e d from the lapel, from inside the jacket, the

etc.

ball

I n this r o u t i n e S l y d i n i p r o d u c e s

by

swinging

the

right

hand

to the Fourth

right a n d p l u c k i n g t h e ball f r o m t h e air, F i g ure 1 6 9 .

Routine

Vanish and R e c o v e r y of a Glass

8. S a y ,

"Isn't

that

beautiful,"

as

the then

This exercise stresses naturalness of hand-

d r o p straight d o w n to the rest position at the

ling a l o n g with individual elements of the Sly-

e d g e o f the table, F i g u r e 1 7 1 . T h e right h a n d

dini t e c h n i q u e . T h e effect is o n e where a bor-

releases the ball, using Timing, allowing it to

r o w e d g l a s s c o m p l e t e l y v a n i s h e s a n d t h e n re-

be lapped.

appears. Only the glass is used. T h e effect is

hands

gesture,

9. Say,

Figure

170.

The hands

completely

" L o o k , " a s the right h a n d m o v e s

up

as if it held the ball, Figure 1 7 2 . Pretend

to

place

the

ball

1 0 . Wave

the

i n t o the left h a n d ,

height. Begin by displaying the glass as s h o w n

Figure

in

173. hand,

Figures

hands

to

right

hand

and

175,

174

show the

ball

is

over then

gone.

the

Figure

1 8 1 . Place i t m o u t h d o w n o n the

table before y o u , Figure 1 8 2 .

left

2. The

o p e n the

hands

now

move

in to cover or

grasp the glass, Figure 1 8 3 .

S h o w the

3. The

hands on both sides, Figure 176.

hands

move

in

and

completely

cover the glass as shown in the sequence in

1 1 . T h e b o d y b a c k s u p s o y o u are sitting back in

impromptu.

1. T h e glass s h o u l d be a b o u t three inches in

photos 184, 1 8 5 , 186, 187. B u t what actually

the chair. S a y , " T h a t ' s a l l , " as y o u

gesture in Figure 1 7 6 . T h e n d r o p the h a n d s to

happens

the rest position of Figure 1 7 7 , the position

thumb contacts

is

shown

in

Figure

185;

the

left

of the I m p Pass.

off the table and into the lap. T h e m o v e m e n t

the glass a n d propels it b a c k

o f the left t h u m b i s e x p o s e d i n Figure 1 8 5 .

1 2 . T h e left h a n d retrieves the ball w h e n i t c o m e s t o r e s t i n t h e l a p . S a y , " T h a t ' s ter-

Figures

rific." As y o u do, gesture as shown in Figure

gers m o v e i n front t o screen the l a p p i n g m o v e .

178

The

and

187

s h o w h o w t h e l e f t fin-

4. T h e hands have c o m e together in Fig-

(the s h o o t i n g of the gun p o s i t i o n of the

right h a n d ) .

186

ure

right h a n d then d r o p s b a c k

1 8 7 , as if holding the glass. Actually the

to the rest p o s i t i o n at the e d g e of the table as

glass i s l a p p e d a t this p o i n t , b u t y o u m u s t act

shown in Figure

1 7 9 a n d the left h a n d simul-

as if the h a n d s do in fact c o n t a i n the glass.

taneously

the

feeds

ball

up

into

the

right

5 . T h e h a n d s a r e r a i s e d , F i g u r e 1 8 8 , still

hand.

c u p p e d together as if they held the glass. Slydini m a k e s

13. T h e ball is then p r o d u c e d from inside

the

a throwing m o t i o n and then sep-

the j a c k e t , Figure 1 8 0 , or any other p l a c e ap-

arates

propriate to the routine.

glass has vanished.

hands,

6. Slydini

A n i m p o r t a n t p o i n t regarding the retrieval

gestures

of an object, whether in the above routine or

Figure

claps

189,

to show

the

the h a n d s together, then

again with the e m p t y hands, Figure

any routine using related c o n c e p t s is that the

1 9 0 , before d r o p p i n g the hands to the table in

movement

the rest position.

of the h a n d

t h a t will retrieve the

7. He then says, "Isn't that g o o d ? " as he

object is divided into two (or m o r e ) segments. Thus, note

gestures

t h a t t h e b a l l could b e r e t r i e v e d b y

when

the right h a n d in F i g u r e 1 7 7 b u t in fact is n o t . 47

once

more,

Figure

191.

the hands c o m e b a c k to

This

time

the rest posi-

tion

the right h a n d rests at the e d g e of the

l a p p e d glass in Figure 1 9 4 and h o l d the glass

t a b l e while the left h a n d d r o p s t o the l a p a n d

in

secretly

h a n d c o m e to rest at the edge of the table.

clips

the

glass

between

thumb

and

p o s i t i o n w h i l e all f o u r f i n g e r s

first f i n g e r , F i g u r e 1 9 3 .

of the left

( B ) I n S t e p 5 y o u c a n p r o d u c e t h e illu-

8. T h e right h a n d m o v e s to

the right to

sion

of breaking

the

glass

as it vanishes by

p u s h a n object a w a y . T h e b o d y swings slightly

creating a noise that s o u n d s like glass break-

t o the r i g h t . A t the s a m e t i m e the left s e c o n d ,

ing. T h e easiest w a y to do this is to have a

third,

piece of crushed ice in the m o u t h . S i m p l y bite

and

fourth

fingers

c o m e to rest at the

edge of the table. T h e glass is b e l o w the edge

on the ice as the h a n d s a p p a r e n t l y crush the

o f t h e t a b l e , c l i p p e d b e t w e e n t h u m b a n d first

g l a s s . I f n o ice i s a v a i l a b l e the trick c a n still b e

finger. the

If there is no o b j e c t on t h e t a b l e for

done

right h a n d to b r u s h a w a y , the right h a n d

can gesture as shown in Figure 194. 9. In Step

8

if

you

can

use

an

appropriate

noise-

m a k e r (they are s o l d in novelty s h o p s ) to create the s o u n d of breaking glass. If the crushed ice

there m u s t be coordination

method

is

used,

note

that because

the

b e t w e e n the m o v e m e n t s of the h a n d s a n d the

hands are close to the m o u t h w h e n the crush-

movement

hand

i n g s o u n d i s m a d e b y b i t i n g t h e i c e , t h e illu-

to the right, or gestures as in Figure

sion of the glass shattering to bits is perfect.

moves

o f the

body.

As

the

right

( C ) While the right h a n d h o l d s the glass in

1 9 4 , the b o d y s i m u l t a n e o u s l y m o v e s with the right hand. After

the

This

a m o u t h up condition,

re-inforces the misdirection.

gesture

of

Figure

194,

the left h a n d can p o u r

wine into the glass. T h e left h a n d then steals

the right

h a n d d r o p s b a c k to a rest p o s i t i o n at the edge

the

of the table. Figure 1 9 5 shows what happens

hand closes

n e x t . T h e right t h u m b slides into the glass as

h a n d p u t s the b o t t l e (with the glass b e h i n d it)

the

to one

left

h a n d s i m u l t a n e o u s l y feeds the glass

glass

behind as

the

bottle

while

the right

if it h e l d the glass. T h e left

side as y o u m o m e n t a r i l y direct atten-

tion to the bottle. T h e right h a n d drops to the

up to m e e t the t h u m b . 10. N o w the hands c o m e together, Figure 196. The right thumb moves

up behind the

lap

and picks up a glass g i m m i c k e d to l o o k

like

it held wine. Y o u then p r o c e e d with the

trick as written. T h e difference here is that a

right h a n d , the b a c k of the right h a n d acting as a screen as the right t h u m b l o a d s the glass

glass

behind the right p a l m .

benefit of a pull ala " S q u a s h , " rubber cover,

11. The

hands

continue

moving up and away

to

move,

from the table,

filled w i t h wine is v a n i s h e d w i t h o u t the

or any other m e a n s to contain the liquid.

now

Figure

(D) A

1 9 7 . T h e h a n d s t h e n o p e n , F i g u r e 1 9 8 , t o re-

different

and

puzzling effect can

be achieved as follows. U s e a mirror glass with

veal the re-appearance of the glass.

paper flowers or spring flowers concealed behind

the

mirror.

This

is a basic l o a d which

y o u will steal from the glass by m e a n s of a N o t e s on the Handling

thread loop.

Proceed with the vanish

of the

glass as already outlined, b u t steal the flower S l y d i n i h a s d e v i s e d m a n y variations o f this

load

as the glass is l a p p e d . In Figure

189,

routine. T h e following are n o t e s on the basic

when

handling, variations in p r o c e d u r e , a n d a sug-

ingly t r a n s f o r m e d the e m p t y glass into a bou-

gestion as fect

t o h o w a n a l t o g e t h e r d i f f e r e n t ef-

can be

produced

from

the

same

the

left

from to

hand

the lap

condition is

Step

7

opened, y o u have seem-

naturally a s s u m e that the glass is cleverly hidden

In

are

q u e t o f flowers. S c e p t i c s i n the a u d i e n c e will

basic

premise. (A)

the hands

Slydini s o m e t i m e s varies

behind

or

under the b o u q u e t .

But you

a l l o w t h e f l o w e r s t o fall f r o m t h e h a n d s o n t o

grip on the glass by taking it

the table o n e at a time, s h o w i n g that y o u have

so

nothing b u t the flowers a n d that the glass has

it rests in an angle-palmed

in the left h a n d . A n o t h e r variation

a l l o w t h e left

thumb

to slide

into

in fact vanished.

the

able effect.

48

A very pretty and inexplic-

6

More Slydini Moves H I S chapter serves t w o p u r p o s e s . It

h o l d this o p i n i o n . Q u o t i n g the s e c o n d edition

is u s e d to describe in detail several

of Modern

m o v e s that Slydini uses in the chap-

ably the only magician since the wily Mr. H a n

ters to c o m e . S i n c e the m o v e s are

to devise so m a n y simple and effective meth-

"broken out"

or extracted from the

the routines,

the

student has a better oppor-

many

clever

trick

"

t h e m o m e n t t h e y will b e t h o u g h t o f s i m p l y a s Later you

will

see

how

they

spotlight

some

tions m a d e by

of

the

Another area of magic

ticed or have been

palms.

over the years.

worker Here

contributions

moves

unacknowledged.

are generally in w i d e r c i r c u l a t i o n than r o u t i n e s . I f i n f a c t all o f S l y d i n i ' s the

art

of close-up

is

that

again

This is best done in terms of moves because

to

the

routines that has m a d e him world-famous.

the m a n y contribu-

close-up

contributions

performing

S l y d i n i t e c h n i q u e will b e f o u n d i n C h a p -

magic, contributions which have gone unno-

complete

for

ter N i n e , in the n o w - c l a s s i c s e q u e n c e of c o i n

Slydini t o the art o f close-up forgotten

variations

m o v e is f o u n d in this chapter. A p p l i c a t i o n s of

T h e r e is a n o t h e r r e a s o n for this c h a p t e r . It to

". . . S l y d i n i is p r o b -

T h e correct t e c h n i q u e for p e r f o r m i n g the

are

e x p l o i t e d in brilliant fashion.

is

Magic:

ods for a c c o m p l i s h i n g the basic m o v e , or so

text of

tunity to study them without distraction. F o r "moves."

Coin

that

of interest to the of

Slydini

so-called has

angle

made many

have

gone

For

example,

more

or less what

is

k n o w n t o d a y a s the T e n k a i p a l m h a d its start

magic

as a form of the Slydini p a l m . This is not to

w e r e p u t i n this c h a p t e r , the c h a p t e r w o u l d b e

imply that Tenkai was in any w a y influenced

larger than the rest of the b o o k .

by Slydini's m e t h o d of palming a card. The point

O n e o f the m o v e s the s t u d e n t will learn

is

circulate

here is k n o w n as the H a n Ping Chien m o v e .

that in

angle this

dini's w o r k

1914,

palm was generally known.

but

it was n o t advertised until

Ladson

Butler

took

1917,

palm

o u t an ad in the

this

methods as

T h e m o v e w a s seen in this c o u n t r y as early as when

in

palm

country area,

began to

a result of Sly-

before

the

Tenkai

It is not j u s t the

b u t m e t h o d s o f shifting from o n e p a l m

"Han

p o s i t i o n to another, using angle p a l m s to se-

Ping Chien Trick, exactly as taught to me by

cretly l o a d cards to the top or b o t t o m of the

Mr. H a n h i m s e l f . " A l t h o u g h widely k n o w n as

deck, to switch cards, to control cards, to lap

a c o n c e p t , the actual handling of the H a n Ping

or otherwise

Chien move

a p p e a r e d t o b e little u n d e r s t o o d

deal

for m a n y years. It w a s after Slydini a n a l y z e d

their

October,

1917

Sphinx

describing

the

steal t h e m , the steal-while-you-

concept, start

and

in

other

Slydini's

ago into

t e c h n i q u e s , all h a d quiet

investigations

a n d d e v e l o p e d his o w n m e t h o d o f p e r f o r m i n g

many years

the m o v e that a standard a p p r o a c h was estab-

This chapter contains just one such control,

this a r e a o f c a r d w o r k .

lished. Indeed, it is safe to say that if y o u use

the b a s i c control u s e d in the H e l i c o p t e r C a r d

the

Trick

correct

handling,

chances

are

excellent

that it is the Slydini handling y o u are using. N o t only did Slydini i m p r o v e the handling of

the

basic

Han

Ping

Chien

concept,

in

Chapter Ten,

but

again

a chapter

c o u l d b e d e v o t e d t o j u s t this s u b j e c t a l o n e . B y s p o t l i g h t i n g b a s i c m o v e s i n this chap-

he

ter,

it

is h o p e d t h a t the s t u d e n t will a p p r e -

f o u n d m a n y diverse u s e s for it. S o c o n v i n c i n g

ciate

is his handling,

perfect the illusion, that

m a n y areas of close-up w o r k . T h u s , the gen-

Slydini can repeat the m o v e several times a n d

eral c o n c e p t o f the c i g a r e t t e steal can b e u s e d

not

raise

doing

the

a move.

so

slightest

suspicion

that he

that

they

can

be

used

or

applied

to

is

to steal a c a r d f r o m a c a r d c a s e , a s m a l l o b j e c t

I am n o t the only person to

f r o m a b o x , e t c . S l y d i n i h a s d o n e all o f t h e 49

groundwork. T h e potential of these moves is

to get the feeling of h o w the hands m o v e in a

limited only by the reader's imagination.

coordinated

sequence

through

Figures

199,

2 0 0 , 2 0 1 , 2 0 2 , 2 0 3 , 2 0 4 . It i s easier t o practice T h e H a n Ping Chien Move

this

acquire

sequence the

without

proper

coins

at

coordination.

think y o u u n d e r s t a n d the

first t o

When y o u

sequence you

can

This is a detailed description of Slydini's

m o v e on to the n e x t s t e p , the handling of the

handling of the H a n Ping Chien m o v e . Proper-

c o i n s , chiefly by the left h a n d , b e c a u s e this

ly p e r f o r m e d , it is as nearly perfect an illusion

forms

as can be obtained.

the S l y d i n i t e c h n i q u e for this c o n c e p t .

the

next

important step in mastering

T h e m o v e will first b e e x p l a i n e d a s i f i t were b e i n g p e r f o r m e d in p a n t o m i m e , that is, The

without coins in the hands. O n c e the reader is

Right

Hand

Only

a c q u a i n t e d with the w a y the handling s h o u l d have

acquired the p r o p e r

handling to the situation where coins are ac-

timing and coordination

of the h a n d s in the

tually used. T h e intent is to get the correct

pantomime

t i m i n g a n d r h y t h m o f the m o v e first.

ready to m o v e on to the n e x t s e g m e n t in the

look,

he

will

have

no

trouble

applying

Assuming you

the

mastery

1. First, y o u are s e a t e d at the t a b l e , the b o d y a p p r o x i m a t e l y six inches from the edge

tions

of

of the table, in the basic starting position.

with

the

2. Pretend table. the

Then

coins

there

with

each

described,

you

are

o f this m o v e b y c o n s i d e r i n g the acthe

right hand.

mechanics

We

of the

are

concerned

m o v e only as it

the

involves the right h a n d . L e a r n this first, then

picking up three of

g o o n t o the a c t i o n o f the left h a n d , a n d o n l y

are

pantomime

exercise just

six

hand.

coins

The

on

then

hands close

should y o u synchronize the m o v e m e n t s

into l o o s e fists a n d c o m e to a rest c o n d i t i o n

o f the t w o h a n d s . B y b r e a k i n g d o w n the m o v e

on the table as shown in Figure 1 9 9 .

i n t o s e g m e n t s , it will be that m u c h easier later

3. N o w

the

right

hand

starts

to

on to acquire total mastery

move

of the c o m p l e t e

sequence.

t o w a r d the left, Figure 2 0 0 . It begins to o p e n

1. A s s u m e y o u have six coins in a row on

as it a p p r o a c h e s the left h a n d .

the table b e f o r e y o u . T h e right h a n d picks up

4. T h e right h a n d is c o m p l e t e l y o p e n by the t i m e it reaches the left h a n d , Figure 2 0 1 .

three of the coins a n d displays t h e m as s h o w n

T h e left h a n d p i v o t s at the wrist a w a y f r o m

in Figure 2 0 5 .

the

right h a n d , the r e a s o n b e i n g that the left

2. T h e

right h a n d will n o w c l o s e i n t o a

h a n d is m o v i n g o u t of the w a y of the right

l o o s e fist. T u r n the right h a n d p a l m d o w n s o

hand.

the

5. T h e

right

fingertips

ride

down

the c l o s e d left fingers as the left h a n d p i v o t s out of the w a y

coins

fall

to

the

waiting right

3. As the right h a n d continues to close,

a n d the right h a n d m o v e s t o

the

an o p e n , p a l m - d o w n condition on the table,

right

thumb

contacts

the

Figures 2 0 2 and 2 0 3 . N o t e in Figure 2 0 3 that

4. With

the

right

fingers

curl

t i m e the right h a n d slaps d o w n on the table.

the p o s i t i o n o f Figure 2 0 8 .

N o t e in Figure 2 0 1 that the right h a n d has to a natural position

stack of three

coins, as shown in Figure 2 0 7 .

the left h a n d h a s p i v o t e d far t o the left b y the

moved

fingers,

Figure 2 0 6 .

along

inwards,

the

continuing

to

coins are b r o u g h t up into

5. T h e coins are actually t h u m b c l i p p e d

a g a i n s t the left

at this p o i n t as i n d i c a t e d in the e x p o s e d v i e w s

h a n d , as if the left h a n d were incidentally in

of

the w a y . T h e right arm is n o t against the side,

views are

nor d o e s the p a l m

of the right h a n d c o n t a c t

In actual practice the h a n d simply curls into a

the

common mistakes). The

p a l m - d o w n l o o s e fist.

left

hand

(two

move is done slowly, " a s smooth as velvet," as

Figures

6. To

S l y d i n i p u t s it.

209

and

210.

Of course,

these

for the s t u d e n t ' s i n f o r m a t i o n only.

complete

the

action

of

the

right

hand, the h a n d c o m e s to rest on the table in

T h e reason for s t u d y i n g this s e q u e n c e is

the condition o f Figure 2 1 1 . 50

To

summarize,

the

right

hand

picks

A

up

Simple

Routine

three coins from the table, displays t h e m , and then c l o s e s a b o u t t h e m in a l o o s e fist. T h i s is how

the

move

ence's point

should

look

from

the

To

audi-

chain

o f view. T h e a c t i o n o f the right

acquaint

the

of events

concept

of

reader

that

the

with

the

actual

occurs with the Slydini

Han

Ping Chien

move,

the

hand should be smooth, deliberate, and com-

following simple routine is suggested. In terms

pletely

of what happens

lacking in

hesitation or fumbling.

If

y o u have trouble w o r k i n g with three coins at the

this

the

master.

to

master

it

with

scenes,

this

is

the Slydini a p p r o a c h a n d handling m a k e even

T h e n try it with t w o coins, a n d finally p u t in time

the

p e r h a p s close to the original H a n c o n c e p t , b u t

start, learn the m o v e with j u s t o n e coin. necessary

behind

three

coins.

simplified

routine

Remember

that

an

the

excellent

one

intent n o w is

to

to tie

t o g e t h e r all o f t h e s e p a r a t e e l e m e n t s t h a t t h e reader The

Left

Hand

Only

has

m a s t e r e d t o this p o i n t , i n c l u d i n g

the

important elements of coordination, tim-

ing,

the a c t i o n s o f the right a n d left h a n d s ,

etc. T h e routine has been streamlined so that This

part

of the construction of the H a n

there are no distracting details, y e t it remains

P i n g C h i e n m o v e will involve t h e a c t i o n o f the

a s t r o n g trick t h a t will startle l a y m e n .

l e f t h a n d o n l y . W e will a s s u m e y o u h a v e s i x coins

on

the

table

picks

up

three

in

1. Arrange six coins in a r o w on the table.

a r o w . T h e left h a n d

of these

coins

and

Y o u are going to d e m o n s t r a t e a coins through

displays

the table routine.

Pick up three of the coins

them as shown in Figure 2 1 2 . This m a y seem

with the right h a n d as i n d i c a t e d in Figures 2 0 5

incidental,

through

that

you

but do

make in

sure the audience sees

fact

have

three

coins.

By

condition,

the

audience

sees

the

c o m p l e t i o n o f this se-

tion on the table.

three

2. N o w pick up the remaining three coins

coins.

with the left hand, following the s e q u e n c e of

2 . T o set u p the m o v e , first rest the three

Figures 2 1 2 through 2 1 6 .

coins on the left fingers as s h o w n in F i g u r e 213.

At

q u e n c e the right h a n d rests in a r e l a x e d condi-

displaying t h e m as in Figure 2 1 2 , in a slightly fanned

211.

It

is

understood

that

this

3. As

photograph

you

start

to p l a c e the right h a n d

b e l o w the level o f the t a b l e t o p , say, " I have

a n d all t o f o l l o w a r e e x p o s e d v i e w s . I n a c t u a l

three

coins in each hand." Pause, pretend to

p e r f o r m a n c e all m o v e s w o u l d b e c o m p l e t e l y

hear a dissenting voice from the audience, and

concealed.

bring the

3. The

4 . S a y , " S o m e o n e might not believe m e . "

Figure 2 1 4 , until they have b e e n rolled to a position tween

where

they

have

t h u m b a n d little

been

caught

right h a n d b a c k up o n t o the table-

top.

t h u m b then rolls the c o i n s d o w n ,

T h e left h a n d n o w turns p a l m d o w n a n d slaps

be-

its

finger. T h e coins are

three coins o n t o the table. As the p a l m -

then h e l d in p l a c e by curling the little finger

d o w n left h a n d m o v e s b a c k t o w a r d the b o d y ,

a r o u n d the coins, Figure 2 1 5 . T h e h a n d simul-

it

taneously

clearly see

closes

and

comes

to

rest

on

the

5. The

table as shown in Figure 2 1 6 . 4. T h e now,

move

left

fingers

back

2 1 6 ; this h a s the

to

the

curled

separates

inward

position

of

coins

until

the

coins

so

the

audience

can

three individual coins on the left. left

from

the

hand

now

table

gathers

and

curls

the

into

three a

fist,

again following the sequence of Figures 2 1 2

Figure

through 216.

effect of loosening the left

6. After saying, "I have three coins in the

h a n d grip on the three c o i n s . left

5 . I f the left h a n d n o w p i v o t s a t the wrist

hand . . . "

you

the

this p o i n t the right h a n d m o v e s to the left as

220,

it

the e n d result b e i n g that t h e y will

apparently

table. 51

slaps

Actually

the

three

gathered

slide out o f the h a n d , Figures 2 1 7 , 2 1 8 , 2 1 9 , with

". . . a n d

have

coins,

end up in a stack on the table, Figure 2 2 1 .

say,

and

a n d m o v e s o f f to the left, the three coins will

its

in the right." At

three

right

coins

hand

o n t o the

follows

the

sequence

described

in

Figures

199

through

first j o i n t o f t h e t h u m b , b u t c o m e s t o r e s t a t a p o i n t a b o v e the first j o i n t o f the t h u m b . T h e

204.

r e a s o n for this is that later, w h e n y o u w a n t to

7. A s t o p action s h o t is i n d i c a t e d in Figure 2 2 2 . A s the right h a n d m o v e s t o the left,

retrieve

the left h a n d r e l e a s e s its

d o w n in the h a n d for the right first finger to

the

right

three

coins so that

cigarette,

i t will n o t b e t o o far

r e a c h it.

hand slaps d o w n onto those three

4.

c o i n s w h i l e r e t a i n i n g its original three c o i n s in

Once the cigarette is in the position of

Figure 2 2 5 , the h a n d is o p e n e d , Figure 2 2 6 .

a t h u m b clip position. to

the

8 . T h e right h a n d m o v e s o u t o f the w a y

This

show

dini-palm p o s i t i o n . With the b a c k of the h a n d

the

three

right hand holds

coins.

three

At

coins

this

point the

secretly

to

thumb

illustration

the

shows

audience,

the

cigarette

in Sly-

the cigarette is completely

clipped. T h e three coins on the table are the

concealed. T h e h a n d is kept in a relaxed con-

coins that were originally in the left h a n d .

dition while the cigarette is p a l m e d .

9. T h e right h a n d , in a p a l m - d o w n condition,

picks up

the three t a b l e d coins,

draws The

t h e m into the c l o s e d left h a n d , a n d g o e s be-

Retrieval

low the tabletop. 1. With the c i g a r e t t e p a l m e d as s h o w n in

10. T h e left h a n d slaps the t a b l e t o p , the h a n d o p e n i n g a s this i s d o n e s o t h a t i t a p p e a r s

Figure

as if the left h a n d h a s s l a p p e d its three c o i n s

and

through the tabletop.

where the cigarette is being held by the right

2. T h e

into view, the h a n d o p e n s , a n d the six coins allowed to

drop

by

a slight

Ping

Chien

concept.

The

to

the

a

Han

Nine,

where

the

coins-through-the-

reader

will

discover

Figure 2 2 8 . This, accompanied

right m i d d l e finger n o w m o v e s to

position

under

and pushes

the

cigarette,

Figure

230,

the cigarette upward, away from

the p a l m .

table m o t i f is central to the subject of C h a p ter

on the end of

straightening of the right t h u m b ,

3. The

is to show h o w the hands work synchronously approach

cigarette

palm, Figure 2 2 9 .

o f all p a t t e r a n d p r e s e n t a t i o n , s i n c e t h e i n t e n t Slydini's

forefinger curls d o w n

causes the cigarette to pivot up a w a y from the

Of c o u r s e , this is a s i m p l e r o u t i n e s t r i p p e d

applying

right

the upper e n d of the

first finger p r e s s e s

the cigarette,

from the h a n d o n t o the

table.

in

the

thumb.

11. The right hand immediately comes up are

227,

contacts

4. T h e cigarette is then p r o d u c e d at the

a

fingertips as s h o w n in Figure 2 3 1 .

n u m b e r o f e l e g a n t v a r i a t i o n s , fully e x p l a i n e d , which have a m a z e d millions over the years.

Slydini T e c h n i q u e for Palming a Cigarette This

will

be

Checkpoints

described in t w o parts, the

(A) The

p a l m a n d the retrieval of the cigarette. First, a

and

description

mechanics

of h o w Slydini palms a cigarette.

1. Display

a cigarette to the audience by

holding it between

the

right

first

2. T h e

right

middle

finger

finger a n d then

above

retrieval

description is

curls

of

confined

the

only

palm

to

the

o f the m o v e itself. I n actual p r a c -

tice y o u w o u l d p a l m

thumb, Figure 2 2 3 . a r o u n d the cigarette,

the

parendy

placing

instance.

Thus

it the

the

cigarette when

into

the

left

back

of the

hand, right

apfor hand

w o u l d screen the action of the p a l m . A l s o , the

Figure 2 2 4 and pulls it

move

is

d o n e with a light t o u c h at m o d e r a t e

b a c k against the p a l m . T h e pivot point is the

s p e e d . T h e actions are natural a n d easy to do

upper end of the cigarette.

if y o u study the m o v e on a step-by-step basis.

3. N o w the

right t h u m b slides u p t o the

position shown in

T h u s there is no n e e d for great s p e e d in per-

Figure 2 2 5 . N o t e that the

f o r m i n g either the p a l m or the retrieval.

u p p e r e n d of the cigarette is not caught in the

( B ) In S t e p 1 of the Retrieval it is impor52

tant that the right forefinger c o n t a c t the e n d

ond

of

s h o w n in the e x p o s e d view in Figure 2 3 8 .

the

cigarette

and not

some point

further

fingers.

d o w n the length of the cigarette. T h i s m a k e s the

the position of Figure 2 2 9 .

while

fan by

the

Applications of the Slydini Cigarette Palm

at

this

point

is

the left s e c o n d a n d third fingers,

at the s a m e t i m e the right t h u m b pulls

indifferent

card

into

view,

Figures

239

and 240.

12, where it is

u s e d to excellent advantage in the i m p r o m p t u cigarette

position

6. The chosen card is pulled down under

it e a s y to shift the p o s i t i o n of the cigarette to

will b e c o m e c l e a r i n C h a p t e r

The

7. This

production.

switch.

completes

You

now

the

want

to

action load

of

the

the

chosen

c a r d to the t o p of the d e c k . P r o c e e d as folCopter Control

lows.

Gesture

to the spectator with the right

hand,

letting him

see

the

open

right

palm,

F i g u r e 2 4 1 ; s a y , " O k a y ? " D o n o t call attention

This is a m e t h o d of getting a c h o s e n card opment

the

empty

right

palm.

He

will

be

first i n t r o d u c e d in the

8 . N o w the right h a n d m o v e s b a c k t o the

"Helicopter C a r d " routine. It is u s e d here as a

fan a n d encircles the c h o s e n c a r d as s h o w n in

fan

of a c o n c e p t

to

a w a r e o f it.

to the t o p of the d e c k . B a s i c a l l y it is a devel-

steal,

while

the

chosen

card apparently

Figure

remains in view o u t j o g g e d from the fan. 1. F a n the deck and have a card removed. Take

right

left

corner

thus

the card b a c k from the spectator. H o l d

into the fan, Figure 2 3 2 . Actually the card is under,

center

and

of the

in

line

fan. from

for

operation.

of

a card

in

the

9. The

chosen card into the

insertion

and

right

the

hand

comes

10. Say,

of the

here. . . ." reaches

fan is s h o w n in Figure

the

upper

first

finger a n d the

to

moves

back,

Figure

rest o n the e d g e o f the

"If

As

you

y o u say

for the

don't this,

like the

the

card

right

hand

outjogged card as the chosen

card is l o a d e d onto the top of the deck, Figures

232. 2. With ence,

contacts

table.

other cards in the fan The

fingertip

of the chosen card. This card is

caught between

242,

the

This card should be sep-

arated a bit ease

with,

a s y o u s a y , " I s this the c a r d ? "

first

heel of the right t h u m b .

it at the u p p e r e n d as y o u begin to insert it slid

242,

The

the

the b a c k

chosen

card

until the right t h u m b

2 4 3 a n d 2 4 4 . T h e r i g h t h a n d k e e p s m o v i n g un-

of the fan to the audislid into the deck

til i t c o n t a c t s t h e o u t j o g g e d c a r d , F i g u r e 2 4 5

contacts the indifferent

a n d clips this c a r d b e t w e e n the first a n d sec-

is

o n d fingers, Figure 2 4 6 .

c a r d that will b e s w i t c h e d in, F i g u r e 2 3 3 .

1 1 . ". . . we can place it h e r e . " N o w the

3. Slide b o t h cards up a n d out of the fan until the indifferent card is a b o u t three quar-

right hand removes

ters of an inch o u t of the fan. N o t e in F i g u r e

the d e c k a n d inserts it into a different p l a c e in

2 3 4 that the d o u b l e card is angled in slightly.

the p a c k . 1 2 . A t this p o i n t p u s h the o u t j o g g e d c a r d

This m a k e s it easy to steal the chosen card, since y o u w a n t the chosen card to angle clear

flush

o f the fan, Figures 2 3 5 , 2 3 6 , 2 3 7 .

square

second

fingers

with the

the

fan.

deck.

Close

The

up

the

fan

and

chosen card has been

secretly b r o u g h t to the top of the deck.

4 . T h e c h o s e n c a r d i s s t o l e n b y t h e first and

the indifferent card from

N o t e that the c h o s e n card can be b r o u g h t

of the right h a n d sliding

the c h o s e n card to the right until it clears the

to

the b o t t o m of the d e c k i m m e d i a t e l y after

fan; Figures 2 3 6 a n d 2 3 7 s h o w the action.

Step

5.

straight

5. When the c h o s e n card is b e h i n d the fan

Also,

this

m o v e can be used as a

card switch instead of a control, or

the left fingers m o v e a w a y f r o m the fan s o the

you

c a r d c a n b e c l i p p e d b y the left first a n d sec-

the control. Y o u can also lap the chosen card.

53

can use

the switch in conjunction with

7

The Purse Frame p e r s o n a l n o t e . T h e first t i m e I s a w

The

Routine

Slydini work was many years ago at a l e c t u r e , a n d this w a s the first trick

Required

are

four

regular

sponge balls,

I saw him perform. As s o o n as he

several small s p o n g e balls, a n d a metal p u r s e

r e m o v e d the sponges from the obviously e m p -

frame. T h e frame is ungimmicked; it can be

ty purse frame, I immediately knew h o w the

p u r c h a s e d from s o m e dealers, or y o u can se-

effect was accomplished; it was being done by

cure your own by buying a change purse and

trick p h o t o g r a p h y . This brilliant solution h a d

removing the

a s e r i o u s flaw in it since I w a s s e e i n g S l y d i n i

j u s t the metal frame.

in person

and

not

on

cloth

or leather p o u c h , leaving

film. In fact, he was

T h e set-up is optional. Y o u can start with

s e a t e d only six feet from m e . I n e x t j u m p e d

the four s p o n g e balls in the lap as depicted in

to the only other logical conclusion; what I

Figure 2 4 7 , or y o u can begin with three in the

was seeing h a d to be the result of h y p n o s i s .

lap

Afterwards,

pocket.

having

had

time

to

calm

down

and

one

ball

in

Slydini's

the

rear right

trouser

starting position is slightly

and think rationally, I realized that I did not

different

k n o w e x a c t l y how t h e r o u t i n e w a s d o n e , e v e n

starts with four s p o n g e balls in the right rear

taking into

trouser

account

such

m e t h o d s as sleeve

holdouts and lapping.

the

nearest

thing

in

magic

clearly

explainable

only

by

the

are

no

gimmicks,

no

original

method

it

has

become

used, I believe, a

a

classic

from

apparatus,

the p u r s e frame c a n be in the

depends

on how many

palm in

the right h a n d . Slydini uses b e t w e e n

fifteen

and

twenty

y o u can comfortably

small

sponge

balls,

and

s o m e t i m e s as m a n y as thirty small balls. A s p e c t a t o r is s e a t e d on y o u r right at the

of pure

start of the routine.

magic. When

free

T h e n u m b e r of small sponge balls y o u use

but Slydini has so changed and developed the that

otherwise

left front trouser p o c k e t .

actual

t h u m b tip to p r o d u c e a silk from the f r a m e ) , effect

are

in shirtsleeves,

solid object from a p u r s e frame is in itself not (the

front trouser p o c k e t , a n d the purse

the course of the routine. T h e position of the

sleights or m o v e s . T h e premise of r e m o v i n g a new

of small sponges in

purse frame is not critical; if y o u are w o r k i n g

a r e m a r k a b l e e x a m p l e of art in its p u r e s t There

He

n o t interfere with the steals that o c c u r during

most

time that the routine has appeared in print. It form.

a group

one used here.

c h a n g e , k e y s , etc., so that these articles will

o u t r a g e o u s m e t h o d s . T h i s i s t h e first a n d o n l y is

right

pockets

to trick photog-

r a p h y . What y o u are s e e i n g is clearly i m p o s sible,

pocket,

the

frame in the left j a c k e t p o c k e t . M a k e sure the

I still l i k e to t h i n k of this r o u t i n e as b e i n g the

a n d will b e

studying

the

routine

note

that

h u m o r and m a g i c develop naturally out of the situation

Slydini

creates. As an incentive to

Phase

One

m a s t e r i n g this routine the reader m a y w a n t t o keep in m i n d that while there are m a n y clever s p o n g e ball routines in print,

1. A s s u m e

only two have

seated

a

the

quarter

basic

to

the

starting

left.

You

position, begin by

ever b r o u g h t s t a n d i n g o v a t i o n s . T h i s i s o n e o f

brushing

them. T h e other also belongs to Slydini, b u t

e m p t y ) , as y o u say, " I ' d like to s h o w y o u a

t h a t r o u t i n e is a s u b j e c t t h a t will be d i s c u s s e d

beautiful illusion."

in another b o o k .

the

2. Reach 54

hands

(indirectly showing them

around

to

the

right,

and

the

right h a n d g o e s to the right rear trouser p o c k -

m o v e b a c k naturally. A s the right h a n d m o v e s

et, Figure 2 4 8 . T h e right h a n d p a l m s three o f

back,

the sponge balls in that pocket, Figure 2 4 9 .

sponges,

3. The audience thing.

effect

is

you

that

you

are are

Figure

conveying to the looking

the left h a n d , h o l d i n g the t w o p a l m e d comes

257.

up

Note

to

meet

that

the right h a n d ,

the frame is grasped

b e t w e e n the left first a n d s e c o n d fingers, b u t

for s o m e -

the

Y o u p r e t e n d that it is n o t in the right

third

and

fourth

fingers

are

pressed

against the other fingers so that the a u d i e n c e

p o c k e t , so the b o d y begins to swing around to as if y o u realized

d o e s n o t c a t c h a flash of the p a l m e d s p o n g e s .

y o u m a d e a m i s t a k e . T h e h a n d s m o v e in uni-

A detail of this is s h o w n in the e x p o s e d view

s o n . When the left h a n d r e a c h e s the left j a c k e t

in Figure 2 5 8 .

the left.

Say,

"No,

No,"

10. N o t e that the t o p of the purse frame

p o c k e t , the right h a n d has s w u n g a r o u n d so it

is a l m o s t level with the left

rests naturally in the lap, Figure 2 5 0 .

first finger, a n d

three

also that the left t h u m b is straight up a n d out

s p o n g e balls in the lap as the left h a n d c o m e s

o f the w a y s o the frame c a n b e i m m e d i a t e l y

out of the j a c k e t p o c k e t with the purse frame.

opened.

4. T h e

As

the

right

hand

frame is

deposits

its

1 1 . As soon as the frame is deposited in

removed, y o u say, "Wait a

the left h a n d , the right h a n d s n a p s the f r a m e

minute. Here it i s . " 5. Say, Display

"Do

the

you

purse

know

frame,

what

Figure

this

is?"

o p e n . T h e f r a m e i s c o m p l e t e l y o p e n ; this pre-

251,

then

vents fumbling in removing the sponges. T h e

revolve it b e t w e e n the h a n d s . S l y d i n i refers to

right

this

as "talking with the h a n d s " because y o u

a n d reaches d o w n into the frame, Figure 2 5 9 .

are

unmistakably

An e x p o s e d view is s h o w n in Figure 2 6 0 .

without

showing

the

hands empty

calling a t t e n t i o n t o this fact, m e r e l y

hand

turns

12. The

palm

right

hand

the

grasps

one

of Slydini

view, Figure 2 6 1 . This s p o n g e is p l a c e d on the

displaying the frame while showing the hands

t a b l e , F i g u r e 2 6 2 . N o t e i n F i g u r e 2 6 2 t h a t all

empty.

of Slydini's attention is on the right h a n d . As

6. S a y ,

"It's just

a

shot

purse

frame." The

shown

hands

in

at

Figure

the

side,

253.

out into

far as the a u d i e n c e is c o n c e r n e d at this p o i n t ,

h a n d s grasp the frame at either side, a n d y o u sit b a c k ,

it

the

Figure

another

brings

of

sponges

shows

immediately

audience

in the action of toying with the purse frame. 252

and

toward

the purse contains only the one s p o n g e .

in the position

13. As

" C a n y o u hear any-

the

hand in Step

is

placed in

the

left

t h i n g ? " y o u ask, as y o u shake the frame near

thing

the right ear,

sponge is removed, say, "I have a s p o n g e . "

hand

does

Figure

not

2 5 4 . N o t e t h a t the left

move

from

the

position

of

here."

Then,

in

Step

12,

as

the

1 4 . A f t e r the first s p o n g e i s p l a c e d o n the

Figure 2 5 3 . 7. As

in

frame

1 1 , say, "I k n o w I have some-

table, p a u s e , then l o o k in the p u r s e frame, act

you

shake

the frame, say, " H e r e ,

surprised and say, "Hey, I have another o n e . "

listen." L e a n forward, extending the frame as

R e a c h into the frame and r e m o v e the s e c o n d

s h o w n i n F i g u r e 2 5 5 . T h e left h a n d n a t u r a l l y

sponge, Figure 2 6 3 .

falls

to

the

lap

as

Note in

Figure 2 5 5

position

of

completely tending the

the

the b o d y and

body

leans forward.

Figure 2 5 6 that the

a n d the left h a n d are

in keeping with the action of expurse

frame

Phase

Two

for the spectator to

listen for a s o u n d .

1. the

8. When the left h a n d d r o p s to the lap, it

After the s e c o n d sponge is placed on

table,

the

right

hand

closes

the

purse

frame. S a y , "That's all." B o t h hands gesture

picks up t w o sponges as s h o w n in the e x p o s e d view in Figure 2 5 6 . T h e t w o s p o n g e s are h e l d

to

between

right h a n d begins to m o v e to p u t the frame in

the

curled

third

and

fourth fingers.

the

9. As s o o n as the spectator leans forward to

listen, withdraw the p u r s e , saying with

smile,

"That's

enough."

This

show right

them

pocket,

hand swings

a

empty,

Figure

Figure

265.

2 6 4 , then the As

the

right

all t h e w a y a r o u n d t o p l a c e t h e

f r a m e in the right rear t r o u s e r p o c k e t , the left

allows y o u to 55

hand naturally drops

Figure 2 7 2 . T h e right h a n d then d r o p s t o the

to the lap, Figure 2 6 5 ,

a n d p a l m s the third s p o n g e .

table,

left, a n d the h a n d s m e e t , F i g u r e 2 6 6 . A s the right

hand

abruptly

changes

direction

7. S a y , "Point to either o n e , " Figure 2 7 4 ,

and

as

swings to the left, s a y , "Wait a m i n u t e . I think I

have

two

another

hands

open

the

Figure

you

in

8. T h e

spectator

points

to

a

sponge.

W h e n h e d o e s , i m m e d i a t e l y p i c k u p t h e other

frame to p r o d u c e the third s p o n g e ,

s p o n g e with the right h a n d as y o u say, " T h e n

Place

Figure

t o w a r d the s p o n g e s with the

266, and you

267.

as

gesture

left h a n d .

o n e . " J u s t at this p o i n t the

meet

as b o t h h a n d s a s s u m e the rest p o s i t i o n

of Figure 2 7 3 .

2. T h e n the right h a n d swings b a c k to the

the

third

sponge

on

the

this i s m i n e . . . . " Put this s p o n g e i n y o u r left

table.

h a n d , leaving it in view at the left fingertips.

3. Close the purse frame a n d place it off

9. Pick up the other s p o n g e with the right

to the right, Figure 2 6 8 .

hand.

Push

this

sponge

against

the

palmed

s p o n g e with the right fingers a n d i m m e d i a t e l y place these sponges as one into the spectator's hand, Phase

Three

Figure

275.

Have

h i m c l o s e his h a n d

tightly a r o u n d the s p o n g e s a n d turn his h a n d palm down.

1. S a y

to

the

assisting

spectator,

"How

10. Note

in

spectator

in closing his h a n d a n d turning

Figure 2 7 6 that as y o u aid

m a n y s p o n g e s d o I h a v e h e r e . " H e will s a y ,

the

Three.

it p a l m - d o w n , the s p o n g e in the left h a n d is

Act

puzzled,

and

then

say,

"I

only

need t w o . " Pick up the purse frame, place it

always

in the left h a n d , and

because

o p e n it with the

right

in view. This is the correct handling the

sponge in the performer's hand

remains in view right up to the last m o m e n t .

hand. 2. Pick up one of the sponges and place it

1 1 . With y o u r right h a n d still a r o u n d t h e

b a c k in the frame, Figure 2 6 9 . N o t e in Figure

s p e c t a t o r ' s c l o s e d left h a n d , raise his h a n d an

2 6 9 t h a t the heel o f t h e left h a n d rests o n t h e

inch,

then

edge

"Not

t o o high, not t o o low. . . . T h a t l o o k s

o f t h e t a b l e . T h e right h a n d releases its

sponge,

a l l o w i n g i t t o fall t h r o u g h t h e f r a m e

this

are d o n e q u i c k l y .

means

3. T h e right h a n d s n a p s the frame c l o s e d

has

completely

immediately

sponges

and

extend

pick

vanished.

up

them

the

to

12. Say

Don't

'open,'

t w o visible

the

t h a t t h e s p e c t a t o r will n o t b e i n c l i n e d

tioned it in the " c o r r e c t " position.

to the startling fact that the s p o n g e p l a c e d in frame

detail y o u m a k e it seem important. This

t o m o v e h i s h a n d a t all o n c e y o u h a v e p o s i -

and replaces it on the table. Pay no attention

stop:

say,

spectator,

nothing

believe

wrong." examines

the

two

sponges,

left

place

of

Figure

2 7 0 just as y o u say, "the best."

rest

gestured. position as

Now

you

hand

My

level

m o v e b a c k t o the

by

the right h a n d d r o p s to the

but

with

moves

5. Y o u have l e a n e d f o r w a r d as the right hand

this.

13. Pretend

right

position

from

I say,

immediately."

a sponge

and

Then

I have o n e . "

the left h a n d a n d dis-

it at the right fingertips.

the b e s t . " As y o u patter, y o u gesture with the the

your hand

"When

" Y o u ' l l never

s p o n g e will j u m p f r o m m y

own eyes if y o u look closely enough."

" O f those t w o s p o n g e s , which one d o y o u like reaching

spectator,

h a n d t o y o u r h a n d . Y o u will see i t w i t h y o u r

place t h e m b a c k o n the table b e f o r e y o u . S a y ,

hand,

open

the

T a k e the sponge play

he

to

" Y o u have

saying, " H e r e , l o o k at these. M a k e sure there's 4. After

it a half inch, as y o u say,

about right." By paying so m u c h attention to

a n d i n t o the l a p . S t e p s 1 a n d 2 of this p h a s e

the

lower

of the

place

retain

the

back

to

the

the

The

6. T h e right h a n d c o m e s into view hold-

down

to the

tabletop, d u m p s the p a l m e d ball

releasing it into palm

the

T h e right h a n d

right,

the

lap,

and

tinues m o v i n g b a c k c o m p l e t e l y

lap, Figure 2 7 1 .

in

it in the right, held in

right t h u m b .

toward

sponge

is

the

"direct

palm"

to

then

con-

the

right.

of Chapter

T w o a n d the vanish is the "Misdirection Van-

ing a p a l m e d s p o n g e as y o u say, "Tell m e , "

ish" of Chapter Four. 56

14. Y o u n o w bring the left h a n d up to a position right

near

hand

the

on

spectator's

the

back

of

hand, the

rub

left

d r o p s the p a l m e d ball into the lap. ". . . N o , I

the

know where it i s . " T h e right hand picks up

hand,

the

frame, Figure 2 8 6 . N o t e that both hands

Figure 2 7 7 , then o p e n the h a n d s , Figure 2 7 8 ,

c o m e u p i n t o v i e w a n d t h a t a t t h i s p o i n t both

t o s h o w the s p o n g e ball gone. S a y , " D i d y o u

are

see

it

g o ? " Spectator says, no. Y o u reply,

empty. .5.

Shake

the

purse,

say, "Listen,"

and

" Y o u m e a n to say y o u didn't see it go into

lean forward to let the s p e c t a t o r hear w h a t is

y o u r h a n d ? Where have y o u b e e n ? "

rattling a r o u n d inside the purse. In Figure 2 8 7 you

15. M a k e a gesture toward the spectator's

lean

toward

the

s p e c t a t o r while the left

h a n d a s s h o w n i n F i g u r e 2 7 8 , a n d tell h i m t o

h a n d n a t u r a l l y falls i n t o t h e l a p a n d p i c k s u p

o p e n his h a n d . H e d o e s , F i g u r e 2 7 9 , a n d t w o

the p a l m e d ball. 6. Place

sponge balls drop out.

produce

16. After y o u have gestured as in Figure

the

the

ball as already described.

2 7 8 , the h a n d s d r o p t o the rest p o s i t i o n , left

Figure

hand

f r o m the p u r s e f r a m e a t this p o i n t .

on

the

table,

right

hand

in

the

lap,

the

"I

right. the

can't believe it." As y o u do,

gesture with b o t h h a n d s , the right h a n d c o m -

edge tinues

from

the

lap

with the p a l m e d third

as

swers,

you

speak.

290,

continues

of the

table,

moving

8. T h e by

W h e n t h e s p e c t a t o r an-

" T w o , " pick up

ball

and

pretend

to

t o m o v e b a c k t o the

drops

to the

the

right,

ball, and conFigure

291,

as

Vanish.

" H o w m a n y sponges did y o u say

we h a d ? " R e s t b o t h hands at the e d g e of the table

the

explained in detail in the s e c o n d Misdirection

ball. T h e hand gesture is shown in Figure 2 8 1 . 2. Say,

up

right, as the right h a n d m o v e s a w a y ,

Figure

ing

up

Pick

p l a c e i t i n the left h a n d , F i g u r e 2 8 9 . R e t a i n i t

Four

in 1. Say,

s h o w s the p r o d u c t i o n of the ball

7. Close the frame and place it aside to

Figure 2 8 0 . This is Timing.

Phase

288

f r a m e in the left h a n d a n d

third

the

action of S t e p 7 is a c c o m p a n i e d

following patter:

" Y o u didn't see it

before. Do y o u know why? Because I did it

one with each hand,

saying, " T w o together," Figure 2 8 2 . Place the

too

t w o balls in the right h a n d , a d d i n g t h e m to

s l o w l y , a n d y o u will see the ball as it t r a v e l s . "

the p a l m e d ball. hind

the

when

right

the

hand

ball.

(really

This

three)

means

that

sponges

are

This

time

I'm going to do it very

9. S h o w that the ball has vanished as y o u

Place the left h a n d ball be-

two

fast.

say, " N o w y o u ' r e really going to see it travel. I'm going to do it very slowly. Watch."

Figure 2 8 3 ,

1 0 . L e t the s p e c t a t o r o p e n his h a n d , Fig-

audience see the front

ure 2 9 2 , to s h o w he has three balls. T h e hands

s p o n g e , a n d p o s s i b l y g l i m p s e the rear s p o n g e ,

have d r o p p e d to the rest p o s i t i o n on the table

b u t the third sponge is hidden from view.

after y o u

placed the

in

the

spectator's hand,

spectator and

the

above,

say,

"I

have

one

then

say,

"I

up the l a p p e d ball. S a y , "It's a m a z i n g , " a n d as

more."

you

R e a c h into the right rear trouser p o c k e t , Fig-

do, to

complete the

edge

the

ure 2 8 4 , p a l m the fourth ball as y o u pretend

drop

to l o o k for another ball, bring the right h a n d

position of Figure 2 9 2 .

out,

You

a l l o w the right h a n d to d r o p to the lap to p i c k

a n d h e h a s c l o s e d his h a n d a s a l r e a d y

described

"Watch."

can't believe it," gesture with b o t h hands and

3. After the s p o n g e s are in the s p e c t a t o r ' s hand

said,

gesture

of the

as

table

the hands to

the

rest

a n d s w i n g a r o u n d to the left as the left Phase

h a n d r e a c h e s i n t o the left p o c k e t , F i g u r e 2 8 5 . Note

1.

g o i n g f r o m F i g u r e 2 8 4 t o F i g u r e 2 8 5 ; the left hand swings

Five

that the hands m o v e in coordination in is

in view in around

to

Figure the

left,

2 8 4 , then, the

right

Say,

" H o w m a n y do we have n o w ? "

as it

T h e spectator answers, " T h r e e . " Pick up one

hand

with

the

right

hand

and

one

with

the

left

c o m e s a r o u n d to the lap with the p a l m e d ball.

h a n d . P l a c e t h e left h a n d s p o n g e i n t o the r i g h t

4 . A s the left h a n d r e a c h e s i n t o its p o c k -

h a n d . T h e left h a n d p i c k s u p the third t a b l e d

et, s a y , "Wait a m i n u t e . . . ." T h e right h a n d

s p o n g e a n d a d d s it to the s p o n g e s in the right 57

hand. B u n c h t h e m up a n d place t h e m into the

little d e m o n s t r a t i o n o f h o w they think. I f y o u

spectator's palm.

take

2.

Say,

frame,

"I

have

one

more."

Open

the

act puzzled, and say, "I always have

the

table.

" S o m e t i m e s it

goes into

this

of them

with

like

each

this. . . . "

hand

and

Pick up a

press

them

to-

into

the

gether, Figure 2 9 6 .

trouble finding the last o n e . " D r o p the frame to

two

sponge

2. right

Finally hand,

place

both

adding them

sponges to

the

s p o n g e s al-

p o c k e t . " T h e right h a n d reaches into the right

ready there, a n d say, ". . . here, h o l d them in

front trouser p o c k e t as y o u s a y , "I can't un-

your hand,"

d e r s t a n d w h y this o n e gives m e t r o u b l e . " T h e right

hand

sponges.

closes

Then

around

the

the

fifteen

small

right h a n d c o m e s o u t o f

Figure

2 9 7 . "Hold them tight."

3. " A n d if I place these two in my pocket. . . ."

Pick

up

the t w o remaining sponges

a n d start to p l a c e t h e m b a c k in the p o c k e t .

the p o c k e t . 4. Say,

"Not

there."

c o m e s o u t o f its p o c k e t . The

left

pocket,

hand

reaches

The

right

" M a y b e it's h e r e . "

into

the

left

4. Suddenly pretend to notice something.

hand trouser

Figure 2 9 3 . S a y , " N o t here either."

S t o p , holding a sponge in each hand, Figure 298,

5. " D o

5 . S a y , " I bet y o u it's g o n e a l r e a d y . " T h e hand

comes

scrutinize You

the

know,

sponges. this

isn't

"Wait the

a

first

time. I always m a k e a mistake."

Freeze the hands. left

and

minute. . . .

out into view and gestures

you

see

any

difference between

these s p o n g e s ? " H o l d the s p o n g e s s o the spec-

t o w a r d the s p e c t a t o r ' s h a n d . H a v e the specta-

tator can

tor o p e n his h a n d a s y o u gesture with y o u r

always be s o m e minute difference he can see.

left h a n d ,

When he s a y s , " Y e s , I c a n see a s p o t on this

F i g u r e 2 9 4 . When his h a n d o p e n s ,

see

them,

Figure

299.

T h e r e will

s p o n g e , " y o u i m m e d i a t e l y reply, " T h a t ' s the

f o u r s p o n g e s fall o u t . four s p o n g e s hit the table, the

m a l e . Y o u s e e , I u s e t w o m a l e s a n d t w o fe-

right h a n d c o m e s up a n d rests naturally at the

males. But I made a mistake. I put a male and

6. As the

table's edge, Figure 2 9 5 . T h e arm rests on the

a female in y o u r hand. It's not proper. Y o u ' d

table while

better open your hand." Act excited as if y o u

the right h a n d itself hangs b e l o w

m a d e a drastic mistake.

the edge of the table.

6. T h e quickly, Phase

Six

spectator

Figure

300,

will and

open a

his

hand

multitude

of

s p o n g e s fall t o t h e t a b l e . T h e a p p e a r a n c e o f s o m a n y sponges c o m e s as a tremendous surprise

1.

Say,

" Y o u know, these sponges have

m i n d s of their o w n . I wish I c o u l d give y o u a

and

always

brings

an

enthusiastic

applause from the audience.

round

of

8

Two Cigarette Routines h a n d . " E x t e n d y o u r left h a n d under the spec-

Destroyed and Restored Cigarette

tator's

the t o b a c c o i n t o y o u r left h a n d , F i g u r e 3 0 9 .

ly. It has not previously appeared in

When he's

print. M o s t o f t e n , S l y d i n i o p e n s his

b a c c o in a neat pile in the left h a n d as y o u

close-up lecture with this trick be-

say, "Very good. Excellent."

c a u s e of its striking visual a p p e a l . A cigarette unexpected

finish

that

dazzles

finished d o i n g this,

7. N o w

torn to bits is instantly restored; then c o m e s an

e x t e n d e d right h a n d a n d let h i m p o u r

L Y D I N I c r e a t e d this routine recent-

say,

"I

adjust the to-

want you

to

take

this

cigarette paper. . . ." Pick it u p , Figure 3 1 0 ,

the audi-

and

ence.

continue,

". . . s m a s h it up i n t o a little

ball, a n d p u t it right on the c e n t e r . " T h i s is a

1. Preparation consists of having an ordi-

crucial

point.

Figure

310

you

hand

the

spectator

to

y o u s a y , "I w a n t y o u to s m a s h it into a little

the lap.

In

other w o r d s , it rests at right

angles to the cigarette s h o w n in Figure 3 3 5 . 2. R e m o v e Pick it up,

a

cigarette

Figure

301,

from

the

the

In

nary cigarette in the l a p , resting at right angles

ball. . . . "

cigarette paper; in Figure 3 1 1

And

in

". . . a n d p u t it

pack.

Figure

right

on

312, the

you

say,

center."

Note

t h a t a t e x a c t l y this p o i n t t h e right first finger

and hand it to the Take it

points to the center of the pile of t o b a c c o in

b a c k when he is satisfied that it is ordinary,

the left h a n d . As y o u s a y the w o r d ". . . cen-

spectator

to

examine,

Figure

302.

a n d drop it on the table. S a y to h i m , "Watch

ter . . ." t h e right h a n d p o i n t s . T h e n t h e right

closely w h a t I d o . " As y o u s a y this, gesture

h a n d naturally d r o p s b a c k to the rest position

with

in the lap, Figure 3 1 3 . This is Timing.

the

hands

hands,

empty.

Figure

To

303,

emphasize

to

show both

8. As s o o n as the right h a n d drops to the

that the hands

are e m p t y , y o u can s a y , "I could have s o m e -

lap

thing

p o s i t i o n s h o w n i n F i g u r e 3 1 4 . T h e w a y this i s

my

concealed between my

hand,

etc.,

so

watch

fingers, b e h i n d

both

hands

it clips the l a p p e d cigarette in the p a l m

d o n e is that w h e n the right h a n d d r o p s to the

very

lap,

closely."

it

grips

the

cigarette b e t w e e n the right

3. " M a y I have the cigarette." T h e specta-

thumb

and

tor gives y o u the cigarette. " M a y I have y o u r

straight

down

hand."

the cigarette. It d o e s n o t f u m b l e for the ciga-

The

spectator

extends

his h a n d a n d

first finger. T h e r i g h t h a n d d r o p s to

the

lap

and

instantly

grips

rette; it m u s t d r o p to exactly the right posi-

y o u take it as shown in Figure 3 0 4 . 4. " I ' m going to tear the cigarette. M a k e

tion in the lap. When it grips the cigarette, the

sure I tear it c o m p l e t e l y . " H o l d the cigarette

right fingers curl i n w a r d , pulling the cigarette

over the spectator's p a l m , Figure 3 0 5 , tear it a

into the p a l m position actually shown in Fig-

little, Figure 3 0 6 , then say, " I ' m going to tear

ure 3 1 4 and Figure 3 1 5 . 9. As

i t all t h e w a y t h r o u g h . " length, bacco

Figure into

to

3 0 7 , and d u m p the l o o s e to-

his

hand.

Display

the

the words

". . . right here

on the

c e n t e r " are s p o k e n , the left h a n d m o v e s b a c k

5. T e a r the cigarette p a p e r for its entire

the

Revolve

position

at

the

e d g e of the

t a b l e , F i g u r e 3 1 4 . T h e a c t i o n o f the left h a n d

cigarette

paper as y o u say, " A n empty piece of paper."

is

Place it on the table as y o u say, " I ' m going to

h a n d and the b o d y . T h e b o d y m o v e s b a c k a s

p l a c e it right here on the t a b l e . " Place it on

the right h a n d p o i n t s ; this brings the left h a n d

the table to y o u r right,

b a c k to the edge of the table, where it c o m e s

and point to it with

". . . right h e r e . " put

10. When the

tobacco

into

my

with

that

of both

the right

to rest in the p o s i t i o n s h o w n in Figure 3 1 4 .

y o u r right forefinger, Figure 3 0 8 , a s y o u s a y , 6. " N o w

synchronized

left

the

right h a n d has g r i p p e d the

cigarette in S t e p 8, y o u say to the spectator, 59

" T a k e y o u r t i m e . " A t the s a m e time the right

hand.

h a n d m o v e s u p w a r d a n d the cigarette is curled

a n d n o t c u r l e d i n t o a fist y e t i n F i g u r e 3 2 1 .

into

palm

When

position as

hand is

Step

that the left fingers are straight

8.

16. When the hands reach the position of

" T a k e y o u r t i m e , " the right

F i g u r e 3 2 1 p a u s e for a fraction of a s e c o n d ,

in view and is gesturing toward the

then raise the h a n d s to the position of Figure

you say,

described in

Note

spectator as shown in Figure 3 1 5 . The right

3 2 3 . A s the h a n d s rise u p f r o m the t a b l e , the

h a n d e m p h a s i z e s the s p o k e n w o r d s .

left fingers curl a r o u n d the c i g a r e t t e .

11. The the the

hand

then

drops

1 7 . T h e right t h u m b p u s h e s the cigarette

back to table,

into view, Figure 3 2 4 , a n d c o m p l e t e the push-

3 1 6 . T o s u m m a r i z e the m o v e m e n t o f

ing action as s h o w n in Figure 3 2 5 . T h e right

rest

Figure

right

position

at

the

edge

of the

hand

right h a n d , n o t e first t h a t the m o v e m e n t

of the

right

down in

the

then

takes

the

cigarette

from the left

h a n d f o l l o w s the guidelines set

hand a n d d r o p s it o n t o the table as the h a n d s

concept

are c a s u a l l y s h o w n e m p t y , F i g u r e 3 2 6 .

of Timing.

T y i n g the

m o v e m e n t of the right hand to the patter, the s e q u e n c e in S t e p s 7, 8, 9, 1 0 , 11 w o u l d run like this: " I w a n t y o u t o t a k e this p a p e r (right h a n d gives the p a p e r t o the s p e c t a t o r ) , s m a s h

Phase

Two

it into a little ball ( p a n t o m i m e w h a t y o u w a n t the s p e c t a t o r to d o ) , a n d p u t it right on the

1. T h e a u d i e n c e k n o w s the trick is over.

center (right forefinger c o n t a c t s center of pile

S a y , " T h a t ' s all," a n d let the h a n d s d r o p from

of tobacco

the position of Figure 3 2 6 to the lap.

and then Take

as

you

drops

your

view and

time

to

say

the

word

"center"

rest p o s i t i o n in l a p ) . . . .

(right

gestures,

hand

then

comes

drops

back

2. T h e a u d i e n c e is n o t w a t c h i n g for any-

up into to

t h i n g a t t h i s p o i n t . T h e t r i c k t h u s far i s i t s e l f

rest

so

position at the edge of the t a b l e ) . "

strong

that

misdirection. the

1 2 . T h e s p e c t a t o r p u t s the balled-up ciga-

the

effect

provides

its

own

The audience is so dazzled by

restoration

of the cigarette y o u can get

rette p a p e r in the center of the pile of l o o s e

away

with

t o b a c c o i n t h e left h a n d . R a i s e the left h a n d

When

the

t o a c c e p t the paper,

t o b a c c o i n t o the left h a n d a s s h o w n i n F i g u r e

Figures

316 and

317,

almost hands

anything

are

in

the

at

this

lap,

point.

scoop

the

then b r i n g the left h a n d b a c k t o the R e v o l v e

327.

position at the edge of the table, Figure 3 1 8 .

t o b a c c o , S l y d i n i s o m e t i m e s will tilt the t a b l e -

Then

cloth u p , Figure 3 2 8 , allowing the t o b a c c o to

say,

"On

the

center,"

as

y o u gesture

with the right hand in Figure 3 1 8 .

I f y o u have trouble getting m o s t o f the

fall i n t o t h e h a n d .

1 3 . R e s t the right h a n d at the edge of the

3. T h e t o b a c c o is in the right h a n d at this

table again. T h e position is i m p o r t a n t to the

point,

trick;

T h e h a n d s then c o m e up to the rest p o s i t i o n

the distance separating the right h a n d

a l o n g with the small balled-up p a p e r .

f r o m t h e left h a n d is the l e n g t h of a c i g a r e t t e .

on the edge of the table, Figure 3 2 9 , the right

T h e position of the right h a n d is the s a m e as

h a n d b e h i n d the left, a n d h a n g i n g a bit b e l o w

i n Figure 3 1 7 a t this p o i n t . T h e c o r r e c t posi-

the t o p of the table.

tion is shown in Figure 3 1 9 . 14. The

left

hand,

palm

4. When straight

out,

the

reaction

to

the

first

trick

dies d o w n , say, as a j o k e , " Y o u k n o w , s o m e

turns over at the wrist to a p a l m d o w n condi-

people

tion. Figure 3 2 0 s h o w s the start o f this m o v e .

understand

don't

like

why.

this But

trick.

I

could never

if I see that s o m e o n e

N o t e also i n F i g u r e 3 2 0 that the right s e c o n d

doesn't like the trick, I p u t the cigarette b a c k

finger

i n the hand. . . . "

curls

under

the

cigarette

and

begins

propelling it out to a horizontal position.

5. Y o u have p i c k e d up the cigarette while

1 5 . Figure 3 2 1 s h o w s the h a n d s w h e n the left 322

hand is

an

is

completely

palm-down.

e x p o s e d view of the

y o u talk a n d h o l d it with the left h a n d , F i g u r e

Figure

330,

a c t i o n ; the

casually

s h o w i n g the left h a n d e m p t y .

T h e n w h e n y o u get to the line, ". . . b a c k into

t o b a c c o drops into the lap as the right h a n d

the h a n d . . . ," the left h a n d p u s h e s the ciga-

pivots

rette into the c l o s e d right h a n d , Figure 3 3 1 .

the

cigarette

up

and

under

the

left 60

2. Drop

An e x p o s e d view is shown in Figure 3 3 2 . 6. T h e right

cigarette

fingers

at

is

this

held

by

point.

the

Then

the

the matches to the table. S h o w

t h e h a n d s still t o b e e m p t y . T a k e the c i g a r e t t e

curled

from

right

the

mouth

palm.

The

cigarette

is p a l m e d as

touch

swing

slightly

to p u s h against the right

and

hand,

l i g h t l y w i t h the right first finger, F i g u r e 3 4 2 .

end

right,

left

t h u m b pushes the end of the cigarette, causother

the

the

ing

the

to

with

the lit e n d

E x a m i n e the ash, Figure 3 4 3 , and then repeat

shown in

the action of S t e p 2 a few m o r e times.

F i g u r e 3 3 4 a t this p o i n t . 7. Raise b o t h hands and m a k e a tossing

3. A f t e r the final t i m e , the h a n d s m o v e in

m o t i o n with b o t h , releasing the t o b a c c o so it

c o o r d i n a t i o n . T h e right h a n d d r o p s to the lap,

falls b a c k o n t o the t a b l e , F i g u r e 3 3 3 , a s y o u

the

s a y , " . . . I give h i m b a c k the t o b a c c o . "

m o u t h , and y o u are in the position of Figure

left

344

8. R o t a t e b o t h hands at the wrist, to the

hand

raises

the

cigarette

to

the

o n the c o u n t o f " o n e . " T h e right h a n d

takes the l a p p e d cigarette as s h o w n in Figure

position of Figure 3 3 5 . The b o d y drops back, the hands reach the edge of the table as they

3 4 5 , and secretly presses it into the gap be-

rotate

Figure 334. Then

t w e e n t h e right first a n d s e c o n d finger, F i g u r e

r e l e a s e t h e p a l m e d c i g a r e t t e s o i t falls i n t o t h e

3 4 6 , as the right h a n d m o v e s b a c k to the edge

lap, Figure 3 3 5 again. This seeming offhand

of

detail

"two."

to

the

of

position

lapping

of

the

cigarette

without

the

table

has

fooled

some

table,

4. N o w

hands deliberately c o m i n g b a c k to the edge of the

the

Figure take

347,

the

on the

cigarette

count from

of the

m o u t h with the left h a n d , a n d grasp the right

o f t h e b e s t in-

e n d of it w i t h the right t h u m b a n d first finger,

f o r m e d e x p e r t s in the field.

Figure

9. T h e b a c k s of the hands are t o w a r d the

348.

An

exposed

view is shown in

a u d i e n c e at the p o i n t w h e n the p a l m e d ciga-

Figure 3 4 9 ; the right h a n d actually a d d s the

rette

c o p p e d piece to the end of the cigarette. T h e

is

lapped.

hands just

The

scrape

the

cigarette is lapped. motion,

Figures

little

fingers

table

as

of

the

both

p o s i t i o n after the

palmed

336

and

337,

c o p p e d piece is

added is

shown in Figure 3 5 0 .

T h e hands c o n t i n u e their

5. T h e right h a n d n o w displays the ciga-

to show the

hands e m p t y . When y o u reach the position of

rette,

Figure

right in the center." As y o u say this, point to

3 3 7 , s a y , " . . . a n d I f o r g e t all a b o u t

Figure 3 5 1 . S a y , "I'm going to cut it

the center with the left h a n d , F i g u r e 3 5 1 .

it."

6. T h e left h a n d n o w m o v e s up a n d over the cigarette, turning palm d o w n as it grasps the cigarette as s h o w n in F i g u r e 3 5 2 , as y o u say, "Right here."

Torn and Restored Lit Cigarette

7. T h e left h a n d n o w turns T h i s i s o n e o f t h e first t r i c k s S l y d i n i c r e ated.

He has

fooled

thousands

all

up

position

of

Figure

353

to

while

the p a l m the

right

over the

h a n d retains the extra piece. S a y , " H e r e , " as

w o r l d with this o n e r o u t i n e . P r e p a r a t i o n c o n -

y o u l o o k at the cigarette in Figure 3 5 3 . When

s i s t s in h a v i n g a s e g m e n t of a c i g a r e t t e — j u s t a

the

little m o r e t h a n half—on the right leg, t u c k e d

3 5 3 , the right h a n d d r o p s t o the table. C o o r -

cigarette

reaches

the

position of Figure

under a fold of the trouser as s h o w n in Figure

d i n a t i o n a g a i n ; the right h a n d r e a c h e s its rest

3 3 8 . On the table is a p a c k of cigarettes.

p o s i t i o n at e x a c t l y the s a m e t i m e as the left

1.

R e m o v e one cigarette from the pack.

h a n d reaches the position of Figure 3 5 3 .

L e t the spectator examine the cigarette, Fig-

8. The situation

from the back is shown

ure 3 3 9 . S h o w the h a n d s e m p t y , fingers w i d e

i n F i g u r e 3 5 4 . N o w s a y , " T h i s i s all I h a v e , "

a p a r t . T a k e t h e c i g a r e t t e b a c k , a n d d i s p l a y it,

as the hands c o m e together, Figure 3 5 5 . When

Figure 3 4 0 , as y o u say, "This is a beautiful

the h a n d s are together the view from the b a c k

effect.

l o o k s like

You're

going

to

like

this."

Put

the

Figure

3 5 6 . T h e n the right t h u m b

c i g a r e t t e i n t h e m o u t h a n d light it, F i g u r e 3 4 1

pushes the cigarette to the position s h o w n in

( S l y d i n i c a u s e s t h e lit m a t c h t o d i s a p p e a r a t

Figure 3 5 7 .

this p o i n t ) .

9. At 61

this

point

the left t h u m b nips the

left

end

of the

extra

piece

and breaks

the

cigarette,

F i g u r e 3 6 3 , a s the left t h u m b curls

e x t r a p i e c e at this p o i n t as if y o u were really

u n d e r the left side of the cigarette a n d forces

breaking open the cigarette.

i t u p , F i g u r e 3 6 4 . T h e c i g a r e t t e will m o v e u p

10. N o w display the pieces as shown in

t o the " V " p o s i t i o n o f F i g u r e 3 6 5 . ( T h e rea-

Figure 3 5 8 . T h e pieces are i n a n inverted " V , "

s o n w h y it will b e n d w i t h o u t b r e a k i n g is that

a n d y o u are e x p o s i n g t o view a s m u c h o f the

a lit c i g a r e t t e c o n t a i n s h o t s m o k e a n d m o i s -

e x t r a piece as y o u can at this p o i n t . N a t u r a l l y ,

ture which m a k e s the cigarette m o r e flexible

it

than an unlit cigarette.)

is

being held against the end of the ciga-

rette,

as if y o u have not quite separated the

1 5 . T h e right h a n d then wiggles the right

altogether yet. T h e spectators clearly

end of the cigarette as shown in Figure 3 6 5 .

pieces

see t w o torn pieces plus loose t o b a c c o at this

With

point.

o p e n the right h a n d so it is p a l m t o w a r d the

the

c i g a r e t t e still i n t h e " V " p o s i t i o n ,

a u d i e n c e , a n d s h o w the right h a n d b o t h sides,

1 1 . S a y , " T w o pieces." B a c k up a bit so that the h a n d s are directly a b o v e the level of

Figure 3 6 6 . Pick up any loose bits of t o b a c c o

the table, as y o u separate the h a n d s , Figure

on the table and sprinkle t h e m over the ciga-

359.

rette as y o u say, "This has to be done. I don't 12. "That's

hands,

Figure

all."

Gesture

with

the

know why, but it has to be d o n e . "

two

3 6 0 , a s the b o d y n o w m o v e s

16. T h e n display the cigarette, showing it

forward, and drop b o t h hands to the

o n all s i d e s ( a n d i n c i d e n t a l l y s h o w i n g t h e l e f t

rest p o s i t i o n at the e d g e of the table, F i g u r e

h a n d o n all s i d e s ) . P u t t h e r i g h t f i r s t f i n g e r o n

361.

t o p of the center of the cigarette, so that the

slightly

the rest position of

cigarette is held b e t w e e n the forefingers, Fig-

right h a n d releases its p i e c e

ure 3 6 7 . M a k e a rolling m o t i o n with the fore-

13. When y o u reach Figure into

361

the

the

lap.

Immediately

the

right

fingers until the cigarette straightens out, then

hand

s h o w it fully restored, F i g u r e 3 6 8 .

raises, Figure 3 6 2 , a s y o u say, " L o o k . " T h e

NOTE:

b a c k of the right h a n d is t o w a r d the a u d i e n c e in

Figure

362,

fingers

curled

exactly

If the t o b a c c o in the cigarette is

exceptionally

as

of

shown.

the

d r y at the start, roll the c e n t e r

cigarette

between

ent p i e c e against the left h a n d p i e c e . A c t u a l l y

the

the

S t e p s 14, 1 5 , and 16 easier.

right

hand

grasps

the

right

side

of

the

fingers

before

lighting it. T h i s will l o o s e n u p the c e n t e r o f

1 4 . T h e right h a n d then brings its a p p a r the

62

cigarette

a n d will m a k e the h a n d l i n g o f

9

Slydini's Coin Classics N

terms

this

of the

number

chapter is

book.

It is

routines,

the

of effects,

longest in

comprised

almost

As d e t a i l e d as this c h a p t e r is, it is a tribute

the

to

of six coin

10,000 words

S l y d i n i ' s creative abilities that the chapter

does not really scratch the surface of what he

of

k n o w s a b o u t the subject of coins through the

text and 1 5 5 p h o t o s to illustrate the handling.

table in particular and coin magic in general.

In and of itself it could be sold as a separate

It is o n e of his m a n y specialties, a n d m a g i c is

book

t h e richer f o r it.

because

Coins

it is

Through

doubtedly

really

The

sell

in

a treatise

Table,

the

and

ten

to

on the

would

fifteen

un-

The

dollar

tricks

in

this

chapter

can

be per-

f o r m e d in s e q u e n c e e x a c t l y as given here, or

range.

as individual routines b e c a u s e each is strong in

A s y o u s t u d y this c h a p t e r y o u will u n d e r stand why

Slydini

its

is able to repeat what is

own

right.

B u t if y o u are l o o k i n g for a

s t r o n g closing i t e m , the b e s t trick y e t invent-

a p p a r e n t l y the s a m e trick, first w i t h six c o i n s ,

ed with

then

chapter a n d the trick y o u s h o u l d master.

four,

then

performing

two,

essentially

then the

one,

each

same

time

effect,

o n e coin is the trick that c l o s e s this

yet

each time m a k i n g the effect s e e m m o r e a n d m o r e i m p o s s i b l e . C o n t r a r y t o established rules that

a

trick

never

s h o u l d be

repeated,

this

Six Coins and English Penny

chapter s h o w s y o u h o w a trick can be repeated

over

and

over.

It

is

no

matter

that the

S i x h a l f dollars o r silver dollars are u s e d ,

audience k n o w s or anticipates w h a t the effect

plus

will b e — y o u h a v e ,

played

after all,

announced your

one

English penny.

in

a row

on

the

The coins table

as

are

dis-

s h o w n in

intention to cause three coins to pass through

Figure 3 6 9 . C h o o s e s o m e o n e from the audi-

the

e n c e , p r e f e r a b l y a m a n , a n d h a v e t h e m sit o n

table.

It is

the

fact

that each time the

trick is d o n e Slydini i m p o s e s conditions that

either y o u r right or y o u r left. T h e left side is

are

preferable,

m o r e and m o r e stringent, conditions that

but in

either

case

the

spectator

m a k e the trick impossible to do. T h u s , audi-

does not stand a chance of catching anything

ence

anyway.

interest heightens with each repeat, the

applause

becomes

stronger each time. When

1. " I ' m going to ask y o u a few questions.

y o u enter the final p h a s e , the c e l e b r a t e d O n e Coin

Routine,

the

believe what they

audience

I'm going to ask y o u what y o u see, not what

literally c a n n o t

you

are s e e i n g w i t h their o w n

think.

I

don't want to know what y o u

t h i n k , b u t w h a t e v e r y o u s e e , y o u tell m e . "

eyes.

2. " F o r instance, how m a n y coins do we

If there is s o m e m a n n e r by which manipu-

h a v e h e r e a l t o g e t h e r ? " T h e s p e c t a t o r will an-

lative tricks are o r d e r e d , it w o u l d certainly be

swer, seven. " F i n e . I have six dollars, and an

true t h a t the O n e - C o i n r o u t i n e is t i e d for first

English

place with anything likely to c o m e along in

with the right h a n d a n d display it for empha-

this century. A n d it is even m o r e r e m a r k a b l e a

sis.

routine

one

considers

the English p e n n y

3 . " Y o u k n o w , this E n g l i s h p e n n y f o o l e d thousands of people, and if y o u don't watch,

in the main a matter of T i m i n g and Coordina-

d o y o u k n o w what'll h a p p e n ? " T h e spectator

t i o n , c o n f i d e n c e , a n d s m o o t h p r e s e n t a t i o n , all

will a s k w h a t . " Y o u ' l l b e f o o l e d , t o o . " Wait

one

no

up

difficult m a n i p u l a t i o n is i n v o l v e d at all. It is

together to produce

that

Pick

really

woven

when

penny."

of the truly

for the

amazing routines in modern magic.

watch." 63

laughter to subside. Then add, " S o ,

4. The Say,

"I

right

take

hand

three

picks up

coins

in

three

1 1 . D o not m a k e the bluff m o v e t o o ob-

coins.

vious.

the right hand,

As

bring

370.

and tap the t a b l e t o p with it to e m p h a s i z e the says,

yes.

Close

Figure

382,

the

1 2 . " . . . s o t h e y all e n d u p i n t h e r i g h t

right h a n d over the coins, turn the right h a n d

h a n d h e r e . " A g a i n suiting action to the w o r d s ,

p a l m d o w n , a n d h o l d the coins l o o s e l y . S h a k e

raise the right h a n d , Figure 3 8 3 .

the

spectator

h a n d to the left,

words.

5. The spectator says, yes. Y o u ask, " S a t The

left

say, ". . . through the t a b l e , "

r i g h t ? " D i s p l a y the coins as s h o w n in Figure

isfied?"

the

you

c o i n s i n the h a n d . Y o u are n o w g o i n g t o

13. B o t h hands n o w rest on the tabletop,

shift the c o i n s to a p o s i t i o n n e c e s s a r y for the

Figure 3 8 4 . " W o u l d y o u believe t h a t ? " What-

first m o v e . H o l d the c o i n s a s i n F i g u r e 3 7 1 .

ever the a u d i e n c e s a y s , y o u s a y , " Y o u d o n ' t

G r a s p the rear e d g e of the s t a c k of three c o i n s

have to say a word. By looking into y o u r eyes

with the right t h u m b as s h o w n in Figure 3 7 2 ,

I c a n tell y o u are s u s p i c i o u s . Y o u ' r e w r o n g ,

revolve

a n d I'll p r o v e i t t o y o u . "

the

stack

to

the

position

shown

in

F i g u r e 3 7 3 , clip the s t a c k w i t h the first finger

14. " L o o k .

as s h o w n in Figure 3 7 4 , and slide the stack into

I

didn't

do

anything."

t h e t h u m b p a l m , F i g u r e 3 7 5 , t o t h e fin-

the

three

ish p o s i t i o n s h o w n i n F i g u r e 3 7 6 . S e e C h a p t e r

left

h a n d in a r o w as s h o w n in

Six

Note

for m o r e

details

on

this

and subsequent

details of the H a n Ping Chien m o v e . 6.

Rest

the

right

hand

on

the

to

the

move

out from under the

left h a n d is

Figure 3 8 5 .

otherwise shown

by being casually turned palm toward

audience.

as

s h o w n i n F i g u r e 3 7 6 . T h e left h a n d t a k e s the penny,

coins

that

empty table

Turn

the left h a n d p a l m d o w n , o p e n it, a n d a l l o w

1 5 . Pick up the three coins o n e at a t i m e

Figure 3 7 6 . T h e right h a n d m o v e s to a

with

the

left

hand.

Hold

the

stack

at

the

palm-up condition and opens. S a y , " I f I take

fingertips as s h o w n in Figure 3 8 6 . R o t a t e the

the

left h a n d i n w a r d at the wrist (the start of this

English penny

and place it here. . . . " As

y o u patter, p l a c e the p e n n y on the right p a l m ,

action is s h o w n in Figure 3 8 6 ) . N o t e that the

Figure

curled left fingers

377.

Note

the

right

thumb

is

away

from the coins in Figure 3 7 7 . 7. hand

". . . is the E n g l i s h p e n n y in t h e right or the left h a n d . " T h e y

say,

the

of

Figure

the

body,

and

rest

a table u p o n which

it

the

Figure

on

the

table

elbow

386.

The

will

naturally

stack

is

raise

horizontal

a

bit,

to

the

floor. T h e right t h u m b c o n t a c t s the s t a c k at a

right h a n d into the p o s i t i o n

376,

as

16. As the left h a n d m o v e s in t o w a r d the

right

hand. Y o u reply, "Very g o o d . " 8. Close

act

the coins rest at this p o i n t .

point just

as

above

to see the e x p o s e d e d g e of the clipped coins.

w o r d s , the stack rests on the curled third a n d

put

three

coins

in

the

fourth

left

i n F i g u r e 3 7 9 . C l o s e the left h a n d , r o t a t i n g i t the

wrist

so

it

the

to

left

the hand

17. The

audience.

the

twice,

d e l i b e r a t e l y m o v i n g the left h a n d over

right,

in

back

Shake the

coins

is

once

can jingle

the

stack

finger,

as s h o w n in the

to the following m o v e . 1 8 . A s the m o v e i s b e i n g m a d e , the left

Figure

hand

as

this

rotates

inward

so

that

the

b a c k of the

h a n d is to the audience. T h e left h a n d c o m e s

left h a n d . . . . " L e a v e the c o i n s l o o s e i n they

pivots

then closes on the stack, Figure 3 8 8 , bringing

m a k e a false m o v e by bringing

so

thumb

the s t a c k to the clip p o s i t i o n that is n e c e s s a r y

3 8 1 . S a y , " I ' m going to pass these coins from hand

right

e x p o s e d view i n F i g u r e 3 8 7 . T h e little finger

Figure 380, as you say, " D o you

to grab three c o i n s i n t o the left h a n d , the

the instant the right t h u m b

rest a g a i n s t the little

the right h a n d over the left h a n d and p r e t e n d

each

not

c o u n t e r - c l o c k w i s e , so that the s t a c k c o m e s to

or

know what I'm going to d o ? " 10. Y o u

at

finger is

c o n t a c t s it.

h a n d . " D i s p l a y the other three coins as s h o w n at

fingers

little

right

c u r l e d in, b u t is slightly s t r a i g h t e n e d . In o t h e r

I

right

of the

the a u d i e n c e c a n n o t l o o k i n t o the right h a n d "And

The

first j o i n t

second

9.

finger.

the

shown in Figure 3 7 8 . N o t e in Figure 3 7 8 that

to rest in the p o s i t i o n s h o w n in Figure 3 8 9 .

bluff

The lower edge

move is made.

of the stack of coins in the

left h a n d a c t u a l l y c o n t a c t s the t a b l e t o p a t this 64

point.

Leave

the

coins

loose,

the

left h a n d

sound.

completely relaxed. 1 9 . " I f I have three coins in the left hand, how

many

am

I

A c t i n g d i s s a t i s f i e d w i t h the first s p o t ,

shake your head and say, supposed

to

have

in

" N o . " Then bring

the left h a n d t o the left s i d e , Figure 3 9 9 . S a y ,

the

" I m p o s s i b l e . " B r i n g the left h a n d t o the cen-

r i g h t ? " As y o u s a y , ". . . in the right," raise

ter o f t h e t a b l e , k n o c k t h e h a n d a g a i n s t the

the right h a n d to e m p h a s i z e the w o r d s , Figure

table, Figure 4 0 0 , a n d say, " Y e s , I think it's

390,

here. Y o u never k n o w . "

and then d r o p it to the rest position of

Figure 3 8 9 .

26. The position

20. The

spectator

says,

four.

Say,

o f the left h a n d a t this

point is shown in Figure 4 0 0 . Say, " A h , yes,

" Y o u ' r e right. T h r e e dollars a n d the English

here

p e n n y . " W h e n y o u s a y , " . . . and t h e E n g l i s h

against the tabletop, Figure 4 0 1 . A t the s a m e

penny,"

time

Figure the

perform

the H a n Ping Chien m o v e ,

3 9 1 , 3 9 2 , bringing the right h a n d t o

position

of

Figure

393.

Note

that

it i s . " slap

to

vanish.

hand,

Figure

394,

so

that

right

slap

the left h a n d

hand coins

against

the

the right h a n d . T h e n p e e k u n d e r the left h a n d

by

left

the

Then

u n d e r s i d e of the t a b l e t o p . J i n g l e the coins in

the

right h a n d d r o p s o n t o p o f the coins released the

Smile.

the

see

for

yourself

Pause,

if

the

then turn

coins really

did

the left h a n d p a l m -

English p e n n y released by the right h a n d ends

u p , Figure 4 0 2 , to s h o w it e m p t y . L o o k at the

up

l e f t h a n d a s i f s u r p r i s e d y o u r s e l f t h a t all t h r e e

on

top

of the stack as s h o w n in Figure

395.

coins actually penetrated the tabletop.

21. The from

and away

2 7 . B r i n g the right h a n d up into view a n d

the stack, a n d then to the rest p o s i t i o n

let the coins waterfall o n t o the table, Figure

of Figure that

the

right

3 9 6 at the edge of the table. N o t e body

position.

hand moves up

also

shifts

A l t h o u g h y o u have j u s t a c c o m p l i s h e d the

19 and 20

i m p o s s i b l e , the c o n d i t i o n s b e c o m e m o r e strin-

illustrates

why

Slydini's handling is so con-

gent as the effect is a b o u t to be repeated, and

of Steps

to

the

403.

rest

The sequence

back

vincing. N o t e that the h a n d s , b o d y , a n d facial

as y o u m o v e inexorably t o w a r d the climax of

e x p r e s s i o n all g o i n t o t h e b u i l d i n g o f a c o n -

this s t u n n i n g series

vincing illusion that nothing underhanded has

of coin routines, the im-

p o s s i b l e gives w a y t o the u n b e l i e v a b l e .

taken place. 22. As y o u look up in Figure 396 y o u say to

the

spectator,

"Satisfied?" He must say,

yes.

Six Coins and a Ring 2 3 . T h e right h a n d n o w s w e e p s in a circu-

lar

arc

coins

around

on

the

to

the front of the s t a c k of

table,

picks

up

the

This

stack and

and

routine

English

is

Penny

done

after the S i x Coin

routine.

Besides

the

six

h o l d s it in the c l o s e d right h a n d . S a y , " H o w

half-dollars

m a n y h e r e ? " R a i s e the right h a n d a s y o u say

T h e ring m a y b e b o r r o w e d , or, i f m o r e con-

this,

Figure

venient, y o u m a y u s e y o u r o w n . I n this de-

four,

raise

390. the

When

the

other hand,

spectator says, Figure 3 9 7 , and

s c r i p t i o n S l y d i n i uses his o w n ring.

a s k , " A n d h o w m a n y h e r e ? " T h e a n s w e r will

1. S t a r t

b e , three.

table.

2 4 . " D i d y o u ever see a m i r a c l e b e f o r e ? " The

spectator

n o w . " Place

says, no.

" Y o u will s e e

the right h a n d u n d e r the

with

Say,

six

coins in a r o w on the

" T h e English penny fooled you.

L e t ' s eliminate i t . " Y o u are n o w a t the p o i n t

one

indicated i n Figure 4 0 4 . Y o u have p l a c e d the

table.

English penny aside.

A t the s a m e t i m e the left h a n d d r o p s t o the tabletop.

or silver d o l l a r s , y o u u s e a ring.

2 . " T h i s t i m e I'll u s e

B o t h hands m o v e together to reach

Maybe

the position of Figure 3 9 8 .

exactly six coins.

I'll u s e s o m e t h i n g e l s e s o t h a t y o u ' l l

k n o w e x a c t l y w h a t the p o s i t i o n of the coins is a t all t i m e s . "

2 5 . S l i d e the c l o s e d left h a n d t o the right as if l o o k i n g for a p a r t i c u l a r s p o t on the t a b l e ,

3. At

this

point,

if y o u

do

not

have a

F i g u r e 3 9 8 . K n o c k the left h a n d a g a i n s t the

ring, b o r r o w o n e a n d slip it on the ring finger

table

of the

and

pretend

to

listen

for

a particular 65

left

h a n d as y o u say, " F o r the time

hand, a n d closes again. At the s a m e time the

being we're going to place it here." 4. Gather the coins, and

hands

three in each hand,

display them, Figure 4 0 5 .

Say,

move

together,

Figure 4 1 5 , and then

apart, palms down.

"Satis-

f i e d ? " Close the hands over the coins, Figure

1 1 . In a c o n t i n u i n g a c t i o n , the left h a n d

4 0 6 . " I ' m going to ask y o u one question. If

moves

to

the

y o u answer me right it's going to be o k a y . If

begins

to

back

not, y o u ' r e g o i n g to give me a lot of t r o u b l e . "

Figure

4 1 6 . L o o k at the hands, then at the

tabletop, up

and

and go

the

right

under

hand

the table,

s p e c t a t o r . S t o p , rest b o t h h a n d s o n the table,

5. Still maintaining the position of Figure 4 0 6 , s a y , " D o y o u think it's possible i n o n e

Figure 4 1 7 , and say, " H e y , wait a minute. S e e

k n o c k , j u s t like this. . . . " After y o u say the

the w a y y o u ' r e l o o k i n g at m e .

w o r d ". . . t h i s , " the h a n d s m o v e slightly for-

y o u ' r e thinking. Y o u think I s w i t c h e d the ring

w a r d as if to e m p h a s i z e the w o r d . T h e b o d y

into

swings a r o u n d to the left. S i m u l t a n e o u s l y the

switch

left h a n d is r a i s e d a n d the right h a n d is l o w -

t h i n g , " the left h a n d p l a c e s its three c o i n s on

ered to the lap,

the table in a r o w as s h o w n in Figure 4 1 8 .

coins

are

F i g u r e 4 0 7 . T h e right h a n d

s e c r e t l y l e f t o n t h e l a p a t t h i s in-

the

left

hand.

anything."

12. Pick up

stant.

You're As

I know what

wrong.

you

say,

I

didn't

". . . any-

the three coins with the left

h a n d a n d shift the coins to the p o s i t i o n prep-

6. N o t e

in

Figure

407

that

Slydini

aratory

is

to

the H a n Ping Chien m o v e as the

l o o k i n g at the table, at the point where he is

left h a n d rests on the t a b l e as s h o w n in F i g u r e

g o i n g t o r a p t h e left h a n d i n a m o m e n t . T h e

419.

left h a n d , after r e a c h i n g the t o p of the arc in

13. "I w a n t y o u to k n o w that the ring is

Figure 4 0 7 , swings d o w n and raps against the

always

in the right h a n d . " When y o u say the

tabletop,

words,

" . . . right h a n d , " t h e r i g h t h a n d s l a p s

Figure 4 0 8 . I n the s a m e m o v e m e n t

the right h a n d m o v e s up into view as y o u say,

down

". . . c a n

the right

Ping C h i e n m o v e i s p e r f o r m e d . T h e right h a n d

h a n d ? " Figure 4 0 9 . This question is asked in

then c o m e s a w a y to reveal the ring on t o p of

an

all s i x

coins

w i n d up

in

excited or animated tone to synchronize

with

the

upwards

movement

of

the

on

the

table, F i g u r e 4 2 0 , a s the H a n

the stack, Figure 4 2 1 , as y o u a d d , "I never

right

miss."

hand.

14. Push

sible?"

the

ring

out

away

from

the

other three coins so the audience gets a clear

7 . Y o u then add, " D o y o u think it's pos-

view

a n d d r o p the right h a n d to the table-

o f it.

Pick up

the three coins into the

t o p in a rest condition, as d e p i c t e d in Figure

right h a n d as y o u s a y , " S o , here I have three

417.

coins. . . ." Pick up the ring a n d a d d it to the coins in the right h a n d , a n d s a y , ". . . a n d the

8. T h e spectator says, no. Y o u reply, "It

ring," Figure 4 2 2 .

c a n b e d o n e a n d I'll p r o v e i t t o y o u . " N o w o p e n the left h a n d a s y o u s a y , " I w a n t y o u t o

1 5 . C l o s e t h e right h a n d . T h e n raise it, i n

t a k e this ring. . . . " T h e right h a n d t a k e s the

a closed

ring o f f the left ring finger, F i g u r e 4 1 0 . N o t e

you

that

s a y s three coins a n d a ring. T h e n raise the left

as

ence

an a l m o s t incidental point the audi-

clearly

sees

the three c o i n s in the left

hand

hand, Figure 4 1 1 .

and

points

and

fist, p a l m "How say,

toward

many

the audience, as

here?"

The

audience

"And how many here?" The

situation n o w is as in Figure 4 0 6 . T h e audi-

9 . T h e left h a n d n o w c l o s e s , down,

say,

to

the

ring,

ence says three coins.

turns p a l m Figure

412.

16. N o w

the

right

h a n d goes under the

". . . a n d place it h e r e , " gesturing to the t o p

table, Figure 4 0 8 , and y o u immediately bring

of the

fist a s t h e s e w o r d s a r e s p o k e n ,

it up, saying, "Wait a m i n u t e . " Bring the right

right

Figure 4 1 3 . T h e s p e c t a t o r places the ring on

h a n d o u t , o p e n it, F i g u r e 4 2 3 , a n d say, " O h ,

t h e r i g h t fist. T h e c o n d i t i o n a t this p o i n t i s

y e s , o k a y . " Close the right h a n d a n d place it

shown in Figure 4 1 4 .

under

deliberately

hand

opens,

suspicious

motion.

The

table.

Pick

up

the

three

lapped

coins in the right hand.

1 0 . A s s o o n a s this i s d o n e , y o u p e r f o r m a

the

right

17. Then

quickly takes the ring into the

rap

the

center of the tabletop 66

left

hand

against

the

as in the previous S i x

C o i n routine, o p e n it a n d bring the right h a n d

y o u s a y this, F i g u r e 4 2 9 . " B u t first I ' m g o i n g

u p into view. T h e right h a n d o p e n s , allowing

t o l o o k for the w e a k s p o t . " After p o i n t i n g t o

t h e r i n g a n d t h e s i x c o i n s t o fall o u t o n t o t h e

various positions on the table, the hands b a c k

table, Figure 4 2 4 .

up to the position of Figure 4 3 0 .

Note tine.

the ingenious

Outwardly

first

routine

penny,

it

structure

appears

using six

but

internal

of this rou-

identical

coins

changes

to

6. N o w

the

throw away line,

how

the

the

"Wait

first

trick w a s

seemingly

a

simul-

down and

swings

method

to

tor—all

suspect particular,

happen

hand moves

d e p o s i t s its c o i n s o n t h e chair. T h e left h a n d

the

they

In

things

right

and an English

right,

might

The

in

m a k e i t the ideal t h r o w - o f f for a n y w h o t h i n k done.

three

taneously.

minute,"

casual

the right, the b o d y swings to the

and y o u r eyes l o o k toward the spectaat

the

shown in

same

time. T h e end result is

Figure 4 3 1 . T h e m o v e m e n t o f the

accom-

hands, b o d y , and eyes must be coordinated so

p a n i e d b y the right h a n d o p e n i n g t o s h o w j u s t

t h a t all r e a c h t h e e n d p o s i t i o n o f F i g u r e 4 3 1

three coins a n d the ring in F i g u r e 4 2 3 , con-

at the s a m e time. Y o u act as if y o u have no

vinces the audience absolutely that each hand

idea

h o l d s three c o i n s a t this p o i n t .

highly u n o r t h o d o x m o v e of Figure 4 2 7 .

of the spectator's suspicion despite the 7. Smile as shown in Figure 4 3 1 . As soon

a s t h e right h a n d l e a v e s its c o i n s o n t h e chair, you Six Coins

suddenly

picion

recognize

the

spectator's

and your expression

changes,

sus-

Figure

4 3 2 . S a y , " I c a n ' t b e l i e v e it. Y o u ' r e s u s p i c i o u s Now you table

using

perform

only

the

coins

through the

a g a i n . " T h e h a n d s c o m e u p t o the rest posi-

six coins. T h e c o p p e r coin

tion on the table s h o w n in Figure 4 3 3 .

f r o m the first trick is either p l a c e d a s i d e on the

table

or

dropped

into

the p o c k e t .

8. " Y o u ' r e

You

something

then p r o c e e d as follows. 1. Start

with

six

going coin

to

place

words

fooled

anymore."

you If

so

you

coin

away.

The

spreads

I'm not going to use it have just

performed

the

did right

you

talk.

" Y o u think I did some-

left

its

hand

coins,

turns

and

palm

gestures

down,

palm

up

to

s h o w the hands otherwise e m p t y , Figure 4 3 5 ,

the

as y o u say, " L o o k , I didn't do anything." 10. Gather

aside with a similar remark.

left h a n d , position

2. " T h i s time we're n o t going to use any-

the

three coins b a c k into the

getting them

as

previously

into

Han Ping Chien

explained. The hands

n o w rest on the table as s h o w n in Figure 4 3 6 .

thing e x c e p t the six coins. Since I use only six c o i n s , this will b e e a s y t o c a t c h . "

1 1 . " I f I have three in the left, h o w m a n y

3. S t a r t i n g at the ends of the r o w , p i c k

coins

do I have in the r i g h t ? " Here y o u pre-

three

tend

in

coins mark, 4. the

as

9. The

copper

trick with six coins a n d a ring, p l a c e the ring

up

think I

with

thing. Y o u ' r e w r o n g . "

aside with the remark, " I ' m this

You

Gesture

h a n d as s h o w n in Figure 4 3 4 to p u n c t u a t e the

coins in a r o w on the

table as per Figure 4 2 5 . Y o u have just placed the c o p p e r coin

suspicious.

wrong."

as

coins

with

shown

"Three

in

and

each hand.

Display the

a humorous

way

that

you

do

not

4 2 6 , w i t h the re-

r e m e m b e r h o w m a n y coins y o u are s u p p o s e d

three, and here they a r e . "

t o h a v e i n the right h a n d . T h e s p e c t a t o r will

Figure

reply

" S a t i s f i e d ? " Wait for an answer f r o m

that

you

are

supposed

to

have

three

coins in the right h a n d .

spectator. When the spectator says, yes,

say, " V e r y g o o d , very g o o d . " Y o u immediate-

1 2 . " H e y , y o u ' r e right. I have three in the

ly close the hands, bringing them against one

left

another in the suspicious m o v e shown in Fig-

". . . a n d three in the right," p e r f o r m the H a n

ure 4 2 7 , then swinging the hands apart to the

Ping Chien m o v e , F i g u r e 4 3 7 . M o v e the right

position of Figure 4 2 8 .

hand away palm up as shown in Figure 4 3 8 .

5. " Y o u now?

know

what

I'm

going

I'm going to pass three coins

to

do

and

three

13. Say,

through

say,

the table. . . . " G e s t u r e with the right h a n d a s

three 67

yes.

the

right."

As

you

say,

" S a t i s f i e d ? " T h e s p e c t a t o r will

The

coins

in

by

right

hand

dropping

n o w p i c k s u p the over

them,

Figure

Four Coin Routine

4 3 9 , a n d sliding t h e m t o the edge o f the table. Just

as

they

reach the e d g e , the right h a n d You

drops at the wrist to the position of Figure 440.

This

allows

the

right

under the three

coins and

The

t h e n lifts

right h a n d

thumb firmly

up

to

reach

grip

them.

from

the

why you

14. T h e right h a n d n o w m o v e s

1. The

spectator

2. S a y , too

" H o w many here." The

says,

yes.

You

"What's

many

coins.

on the table.

1 5 . T h e right h a n d n o w b a c k s u p . way

back

the

coins

table before

are

w r o n g is that there

Let's

use

only

s h o w n i n the e x p o s e d view i n Figure 4 4 2 . T h e

Arrange you,

F i g u r e 4 4 8 . T h e c o i n s al-

3.

" T h i s trick is very easy. People catch it

immediately.

4 4 3 at the p o i n t when the spectator says, three.

c a r e . " T h i s line is s p o k e n with a smile.

here?"

The

left

hand

If

the row.

o f Figure 4 4 5 , s t o p p i n g sharply a s y o u say the

hand pick up

word

top

The

you

do

right h a n d s i m u l t a n e -

The

thumb and the

of the

inner

each

hand

point

gle. T h e illusion—and it is perfect—is that the

t h u m b a n d first finger.

produced

by the

alleged coins in

performing Step

somewhat

illusion

don't

first finger o f e a c h

Figure

holds

two

449. coins

At

this

between

have t w o . . ." and then when y o u place them

18. When

close

17, keep

together

so

that

on top of the other coins say ". . . a n d t w o . "

the the

6. As

of the sound is that m u c h m o r e con-

vincing.

I

5. As y o u p i c k up the outer coins say, "I

the left h a n d .

hands

on,

outer coin and place it on coin,

o u s l y releases its c o i n s , a l l o w i n g t h e m t o jinwas

catch

4. T h e h a n d s m o v e in from the outside of

now

moves from the position of Figure 4 4 4 to that

jingle

this

t h e m in a r o w on the

right h a n d reaches the rest p o s i t i o n of F i g u r e

". . . h e r e . "

are

four

m o s t touch one another.

h o o k e d against the heel of the right t h u m b as

17. " A n d

reply,

t i m e . " Put t w o coins aside, leaving four coins

spectator says, three.

the

h o w the trick was d o n e .

the audience to laugh, then smile.

forward,

F i g u r e 4 4 1 a n d s h a k e s its c o i n s t o p r o d u c e a n

16. On

didn't see

" B e c a u s e y o u d o n ' t w a t c h . " Wait a s e c o n d for

right fist w i t h a n a u d i b l e j i n g l e .

Say,

to the audience, " N o w I k n o w

Would y o u like t o k n o w ? "

table

a n d t h e t h r e e c o i n s a r e a l l o w e d t o fall i n t o t h e

audible jingle.

have j u s t finished the six coin rou-

tine, and say

Also,

the

left

hand,

Figure

449

indicates,

each

hand

raises its t w o c o i n s to a vertical p o s i t i o n on

positioned

the

table.

The

edges

o f the left h a n d c o i n s

s q u a r e l y in front of the right h a n d , covers any

t o u c h the e d g e s o f the r i g h t h a n d c o i n s a t this

slight m o v e m e n t the right t h u m b m i g h t m a k e

point.

in releasing its c o i n s to p r o d u c e the n o i s e .

move

deliberately intended to p r o v o k e audi-

19. N o w the hands m o v e to the position

ence

suspicion. T h e forefinger of each hand

Figure

crosses

of

Figure

446,

447.

and

The

then t o the p o s i t i o n o f

right

forearm

is

You

are

about

over to touch

to

make a suspicious

the coins in the other

hand, Figure 4 5 0 .

pressed

against the edge of the table in Figure 4 4 7 so

7. O n c e this is d o n e , the h a n d s m o v e to a

that the slight m o v e m e n t of the right h a n d in

position

retrieving the coins on the chair is n o t tele-

t o u c h e s the table. T h e coins are resting on the

graphed to the audience.

fingers.

20. Now Pause, hand

then onto

against

say, say,

the

"Oh,

table,

the table

right h a n d u p

"Where

to

was

here."

sharply

the

Slap tap

the

What

left

the

back

actually h a p p e n s is that after the coins the curled fingers, the t h u m b s

rotate

s h o w the coins have pene-

be m o r e easily clipped. Figure 4 5 1 is actually

the coins slightly o u t w a r d so they can

an e x p o s e d view. In practice the hands rotate inward

at

the

wrists

so

right

hand

hands do contain coins when in fact one hand

make

the

is empty.

clip their c o i n s identically.

create

the

impression

that

that

the

coins

are

c o n c e a l e d from the audience's view. Only the

18 is often used by Slydini when he to

hand

T h e fingers curl i n w a r d a n d p u s h the

are resting on

coins

N O T E : T h e illusion p r o d u c e d i n S t e p s 1 4 wants

of each

from b e l o w , a n d bring the

trated the tabletop once again.

through

that

coins i n t o a t h u m b clip p o s i t i o n , F i g u r e 4 5 1 .

spot." the

such

both

68

coins have to be clipped, b u t to movements symmetric, both hands

8. Figure

452

shows

down

the finish p o s i t i o n

inward at the wrist so that the audience can-

and

not see the coins.

hand

9. N o w hands

but

ask, I'm

"I

have

pretty

four coins

sure

in

it

should

is

coins

the

the left h a n d m o v e s u p a n d

also

be

noted

that

the

right

absolutely horizontal; otherwise the

will

slide

down

the right h a n d as the

right h a n d begins t o m o v e . T h e b a s e o f the

you don't know

right little finger a c t u a l l y c o n t a c t s the curled

where they are. T r y to guess a n y w a y . "

left first finger at the i n s t a n t t h e m o v e b e g i n s .

1 0 . T h e audience might try to please y o u

17. When

by saying two and two, meaning two in each hand.

condition,

off the table. T h e hands touch in Figure 4 5 6 ,

f r o m the a u d i e n c e view. T h e h a n d s are t u r n e d

palm-down

If t h e y r e s p o n d in this w a y , s a y , " O h ,

the

right h a n d has turned to a

condition,

Figure

4 5 7 , the right

y o u ' r e very nice, b u t I k n o w y o u d o n ' t really

first finger c o n t a c t s t h e left little finger. T h i s

believe that."

is, of c o u r s e , the finish or e n d p o s i t i o n . In the

1 1 . If the a u d i e n c e replies by saying that

m e a n t i m e the left h a n d has risen off the t a b l e

they saw y o u switch coins, say, " Y o u know,

and when it is a b o u t an inch off the table it

y o u w e r e w r o n g f r o m t h e b e g i n n i n g . N o w I'll

releases its t w o c o i n s . T h e left fingers d o n o t

h a v e t o s h o w y o u the c o i n s a g a i n . " T h e left

move;

h a n d n o w slaps its c o i n s o n the t a b l e , F i g u r e

c o i n s , a l l o w i n g t h e m t o fall t o t h e t a b l e , F i g -

4 5 3 , as y o u say, " Y o u know, I hate to show

ure

t h e c o i n s all t h e t i m e , b u t I h a v e t o s h o w y o u

d o w n c o n d i t i o n . T e c h n i c a l l y , this is the H a n

b e c a u s e I see the w a y y o u l o o k . "

Ping

1 2 . T h e left h a n d i n F i g u r e 4 5 3 i s p a l m

Han to

Ping Chien rest

on

move

the

as

table

the

in

19. Say,

position

I

say,

d o n e w i t h t h e h a n d s above

the

two

coins

on the table in

"Okay?"

Now

the

right h a n d ,

four coins).

s u p p o s e d to have in the r i g h t ? "

"No,"

moves to palm-

t h e t a b l e a n d g o e s u n d e r t h e t a b l e ( h o l d i n g all 20. Rap

T h e a u d i e n c e s a y s , t w o . L o o k off t o the right and

the

p a l m d o w n , picks up the t w o visible coins on

1 3 . " I f I have t w o in the left, h o w m a n y am

move

right h a n d

on

right h a n d to the edge of the table to the rest

shown in Figure 4 5 4 . coins

the

their grip

position indicated in Figure 4 5 8 .

left h a n d

the

Chien

1 8 . With

a n d m o v e s the coins into p o s i t i o n for

comes

as

relax

full v i e w , s i t b a c k i n t h e c h a i r , a n d b r i n g t h e

i n the h a n d . T h e left h a n d n o w p i c k s u p the the

457,

simply

the tabletop.

out so the audience sees there is n o t h i n g else coins

they

Figure

455.

the

closed

left

fist

against

the

t a b l e t o p . A t the s a m e t i m e the right h a n d taps

Hesitate as if

mulling over the spectator's answer, then l o o k

the coins against the table f r o m b e l o w . O p e n

back

the left h a n d to s h o w it e m p t y .

at the spectator, smile and say, " Y e s ?

Then bring

L e t m e s e e . " O p e n the right h a n d , F i g u r e 4 5 6 ,

t h e r i g h t h a n d o u t a n d t o s s all f o u r c o i n s o n t o

to show two coins.

the table.

1 4 . N o t e t h a t the a c t i o n at this p o i n t is slow,

as if y o u are p u z z l e d over the specta-

t o r ' s reply a n d are thinking over the possibilT w o Coin Routine

ity t h a t h e m a y b e right after all. T h i s p u t s the action of the H a n Ping Chien m o v e on the offbeat and makes it impossible to detect.

1. Y o u

1 5 . T h e t w o c o i n s i n the right h a n d rest

routine.

have just

finished the four coin

Y o u s a y , " Y o u still d i d n ' t s e e a n y -

m o r e or less on the right forefinger in Figure

thing.

L e t ' s t a k e t w o m o r e o u t . I'll u s e o n l y

4 5 6 . Once y o u have shown them to the audi-

two coins. If y o u can't follow only two coins,

e n c e , then the right h a n d r o t a t e s at the wrist

it's n o t s o g o o d . "

to a palm-down condition. At the s a m e time

2. Place the coins together, a b o u t an inch

the t w o coins are t h u m b c l i p p e d again. T h e

from the edge of the table, Figure 4 5 9 , hands

right

at the edge of the table.

forefinger

does

not

aid

in

the

thumb

clip; the coins are already in p o s i t i o n to be

3 . T h e left h a n d n o w p i c k s u p

c l i p p e d b y the right t h u m b .

on

1 6 . As the right h a n d rotates to a p a l m -

the

left,

fingers

above

the

the

coin,

coin

Figure

4 6 0 , a n d slides the c o i n o f f the t a b l e , w h e r e i t 69

is

gripped

thumb right

by

below. hand

the

left

Note

in

has

not

fingers

yet

a

tendency

s n a p s its t w o c o i n s u p against the u n d e r s i d e o f

and

up

nor

the tabletop, j u s t as y o u reach Figure 4 6 5 .

ap-

10.

(This is a c o m m o n

to

about to be played by

top

4 6 0 that the

picked

p r o a c h e d the other coin. mistake,

on

Figure

anticipate

the

The

left

hand

then

comes

up

into

view, a n d t o s s e s o u t its t w o coins.

role

the right h a n d trans-

l a t e d to a m o v e m e n t by the right h a n d t o w a r d its c o i n ; i n f a c t , the right h a n d r e m a i n s sta-

One Coin Routine

t i o n a r y w h e n the left h a n d p i c k s u p its c o i n . ) as y o u

T h i s trick c a n b e p e r f o r m e d b y itself (as

m o v e t o the left, F i g u r e 4 6 1 , d i s p l a y i n g the

Slydini has d o n e m a n y times on television, in

4.

Swing

the

body

to

the

left

coin at the fingertips. N o t e that in Figure 4 6 1

lectures,

y o u c a n still r e a d t h e d a t e o n t h e c o i n ; i n f a c t

i m p r o m p t u for friends)

this

longer coin s e q u e n c e . In S l y d i n i ' s h a n d s this

should

be

your

checkpoint; if you can

read the date on the coin, the coin has n o t

routine

b e e n e x t e n d e d t o o far to the left.

sleight

trick.

Figure

When

461,

you

say,

reach

"Number

the

position

is

highest

expression

of

pure

supreme example

of undistilled

art in close-up m a g i c , if y o u k n o w that w h e n people

talk

o n the left h a n d c o i n , s a y , " A n d . . . . " A t the

about

same

sufficient

time the right h a n d m o v e s to the other the

same

movement.

this

T h e left h a n d

It

remains frozen in position.

is

finish that

the

Penny

at

this

point.

The

hands

Slydini,

routine,

incentive

to

they

then

study

talk

you

most

will h a v e

a n d master the

then

presented

here in the c o n t e x t of a

for the Slydini s e q u e n c e of coin tricks

7. T h e right h a n d s t o p s right at the edge table

about one

Slydini "One Coin R o u t i n e . "

coin and s c o o p s it u p , Figure 4 6 2 , lapping the

of

strictly

of hand, an elegant flow of vanishes

m e n t o f the

6 . A s t h e l e f t h a n d still f o c u s e s a t t e n t i o n

in

performing

or as the finale of a

c a n n y than the last. If y o u r goal is the attain-

of

o n e . " H o l d this

position.

coin

the

or

a n d a p p e a r a n c e s , one m o r e beautiful a n d un-

5 . Without the right w o r d s y o u c a n n o t d o the

restaurants,

begins

with

routine.

the

Six

Coin

and

English

I n F i g u r e 4 6 6 y o u will n o t e

m o v e in c o o r d i n a t i o n ; the right h a n d m o v e s

t h a t S l y d i n i h a s all s i x c o i n s o n t h e t a b l e , a n d

up

has j u s t c o m p l e t e d the T w o C o i n routine.

a n d the left h a n d m o v e s i n t o the l a p ; the

h a n d s reach their destination at the s a m e time in

Figure

463.

The

word " A n d . . . " is

1. N o t e in Figure 4 6 6 that Slydini is seat-

an

ed a q u a r t e r to the left. His right side is a b o u t

intermission b e t w e e n the s h o w i n g of the coin

seven i n c h e s f r o m the t a b l e , his left side a b o u t

in

the left h a n d a n d the s h o w i n g of the coin

ten

in

the

this p o s i t i o n is p a r t i c u l a r l y critical in this rou-

right

hand.

of

Figure

position two."

Now

all

As

the

463,

hands say,

attention

has

reach

the

". . . n u m b e r swung

to

tine

the

8. L o o k

at

the

audience

as

you

is

from

the

table.

The reason why

that in Figure 4 7 7 , for instance, the

right h a n d falls n a t u r a l l y

right h a n d a n d the coin it s u p p o s e d l y h o l d s .

"Number

inches

position at the

to the correct rest

table for loading and unload-

ing moves.

say,

t w o . " T h e n say, " A n d . . ." giving

2 . S a y t o the a u d i e n c e , " I ' m going t o use

y o u the n e c e s s a r y s e c o n d o f p a u s e . T h e right

only one c o i n , " gesturing as shown in Figure

h a n d m o v e s forward to the tabletop,

Figure

4 6 6 . Pick up one coin and display it in the

4 6 4 . T h e b o d y naturally leans forward. It is at

right h a n d . S a y , " I f y o u aren't able t o f o l l o w

this

o n e c o i n , w e s h o u l d give u p . "

point

retrieves

and the

lapped

other words, forward in movement

not before the

of

the

coin

action

Figure

that

464 left

from

the left h a n d the

lap.

In

3. N o w toss palm,

c o v e r s for the slight

b e t w e e n the p a l m s , ultimately tossing it into

hand

as

it

moves

to

the

retrieve the l a p p e d coin.

down

through

the

Figure

left

slapped

palm into

467.

Toss

(Figure the

it

467

left p a l m .

back

and forth

again) As

so

the

it

is

coin

is

c a u g h t in the left h a n d , the left h a n d d r o p s to

9 . A s t h e right h a n d p r e t e n d s t o p u s h its coin

the c o i n into the o p e n left

of the b o d y m o v i n g

the

t a b l e , the left h a n d 70

table

in

one

continuous

motion

to the

position of Figure 4 6 8 . 4 . T h e b a c k o f the left h a n d t o u c h e s the table, Figure 4 6 8 , a n d the h a n d is at the edge of

the

table,

the

Revolve Vanish.

starting

position

for

are

outstretched,

for

the

next

already in correct position

move.

The

hands

now move

s i m u l t a n e o u s l y ; the left h a n d m o v e s d o w n t o

the

a p o s i t i o n b e l o w the e d g e of the t a b l e t o p ; the

S a y , as the coin is s l a p p e d

right

into the left h a n d , " F i r s t . . . . "

hand

table,

hesitation

5. ". . . through the t a b l e . " T h e left h a n d revolves to the position of Figure 4 6 9 , con-

moves

Figure

down

481,

to

drops

the edge the

of the

coin without

(which is c a u g h t by the waiting left

h a n d ) a n d c o n t i n u e s to m o v e to the right as if

tinues to Figure 4 7 0 , d r o p s the coin into the

still h o l d i n g t h e c o i n .

lap, a n d slaps d o w n on the table, Figure 4 7 1 .

h a n d s m u s t c o o r d i n a t e s o the left h a n d i s i n

Note in Figure 4 7 1

correct

t h a t t h e b o d y l e a n s for-

w a r d a s the left h a n d i s s l a p p e d p a l m d o w n

position

T h e m o v e m e n t of the

to take

the c o i n at e x a c t l y

t h e i n s t a n t t h e r i g h t h a n d r e l e a s e s it.

against the t a b l e t o p .

5. T h e right h a n d c o n t i n u e s to swing in a

6. T u r n the h a n d p a l m up, Figure 4 7 2 , to

smooth

arc

s h o w the coin has vanished. B r u s h the h a n d s ,

position

Figures 4 7 3 , 4 7 4 , as y o u say, " T h e coin has

this

to

the right, until it reaches the

shown

in

Figure 4 8 2 . It is only at

p o i n t that the right h a n d turns p a l m u p ,

d i s a p p e a r e d . " B a c k u p s o y o u are sitting b a c k

revealing

in

s a y , " F r o m here the coin goes there. . . ."

the

chair, with the h a n d s b a c k b e h i n d the

edge of the table. 7. Say,

6.

" T h a t ' s all," shrug the shoulders,

that the c o i n has vanished, as y o u

"And

from

there it c o m e s here. . . ."

N o w the left h a n d m o v e s straight u p

a n d d r o p the h a n d s to the rest p o s i t i o n , right

right

h a n d at

reveal the c o i n , F i g u r e 4 8 3 .

the

center

of the table, left h a n d in

the l a p , Figure 4 7 5 .

jacket

lapel,

and

the

7. ". . . It g o e s there

fingers "

t o the

open

to

T h e left h a n d

swings in an arc to the left a n d d o w n to the table. When it reaches the table's edge, Figure 4 8 4 , it allows the coin to d r o p into the lap. Phase

Two

B u t the left h a n d c o n t i n u e s its m o t i o n t o the left,

1. T h i s is the p o s i t i o n for the I m p Pass.

s w e e p i n g o u t in an arc t o w a r d the left

side of the t a b l e . ". . . or t h e r e . " O p e n the left

S a y , "I never use the sleeves." Gesture with

hand

to

the

brush

the h a n d s t o s h o w b o t h e m p t y , Figure

right

allowing

hand the

as y o u say this,

body

to

lean

Figure 4 7 6 ,

forward slightly.

show it

empty,

Figure

485.

Then

4 8 6 , as y o u say, "That's all."

T h e n drop b a c k to the rest p o s i t i o n of Figure 4 7 5 , b u t n o w the right h a n d is at the edge of the

table

a n d it t a k e s the coin f r o m the left

h a n d . Figure 4 7 7 s h o w s the a u d i e n c e view o f

Phase

Three

this. T h e coin is, of c o u r s e , l o a d e d into the right h a n d via the I m p Pass.

1. From

right h a n d ,

the left h a n d reaches

Figure

4 8 6 , drop

the h a n d s to

the rest p o s i t i o n o f F i g u r e 4 7 5 . T h e left h a n d

2. As s o o n as the coin is gripped by the

picks up

o u t to the

the l a p p e d coin. S w i n g the b o d y to

left a s i f t o g r a s p t h e c o i n f r o m the air, F i g u r e

the right as the right h a n d m o v e s to the right

478.

Y o u m u s t believe the coin is off to the

in the beginning of a misdirection s e q u e n c e .

left.

Then hesitate, as if y o u m a d e a mistake

S a y , "I can always take it from there," Figure

and reached toward the w r o n g spot, a n d say,

4 8 7 . T h e right h a n d then m o v e s b a c k over the

" N o w wait a minute. . . ." A c t n o w as if y o u

left

suddenly

remembered

where

the

hand

Figure

coin really

hand

was.

is

as

488.

the Note

left that

moves the

up

into

view,

b a c k o f the left

t o w a r d the audience in Figure 4 8 8 ,

3. T h e right h a n d m o v e s to the left j a c k e t

thus c o n c e a l i n g the p a l m e d coin. As the right

lapel and p r o d u c e s the coin, Figure 4 7 9 . Fig-

h a n d reaches the p o s i t i o n o f Figure 4 8 8 , say,

ure 4 8 0 s h o w s a view from the side.

". . . a n d p u t it h e r e . " 2. T h e right h a n d has m o v e d to the posi-

4. N o t e in F i g u r e 4 8 0 that the left fingers 71

tion of Figure 4 8 8 . N o t e in Figure 4 8 8 that

Phase

Five

the left h a n d is in a r e l a x e d p o s i t i o n , n o t a c r a m p e d condition that w o u l d signal the pres-

1. After performing Phase

ence of a concealed coin. 3.

at

". . . A n d it c o m e s out h e r e . " S a y i n g

body.

this, y o u d o t w o things: first, s h o w the right hand empty, to

the

Figure 4 8 9 by

the

position Flip

F o u r , y o u are

of Figure 4 9 0 . B a c k up the

the c o i n b a c k o n t o the left p a l m .

N o w d i s p l a y t h e c o i n a s i n F i g u r e 4 9 2 . Per-

opening it palm

form

audience; at the s a m e time y o u pro-

the

revolves

Revolve to

as

the

left

hand

duce the p a l m e d coin as shown in Figure 4 9 0 ,

the

the left h a n d sliding o u t i n t o view from u n d e r

moves up, Figure 4 9 6 , and continues moving

the right arm. N o t e that the b o d y has leaned

to the position indicated in Figure 4 9 7 as the

forward as the coin is p r o d u c e d .

coin.

Vanish

a palm-down condition and laps At

the

same

time

the

left

hand

right h a n d points to the apparent coin in the left h a n d . 2. Say,

"Look

underneath

and y o u can

see it. . . ." W h e n the s p e c t a t o r l o o k s , s l o w l y turn b o t h h a n d s p a l m u p , saying, ". . . a n d it's Phase 1. Back up

Four

gone again," Figure 4 9 8 .

the b o d y . T o s s the coin into

the left p a l m by flipping it b a c k with the left fingers. D i s p l a y the c o i n in the left h a n d as

Phase

Six

s h o w n in Figure 4 9 1 . N o t e that the coin rests on

the p a l m , b a c k a w a y from the fingertips. 2. Raise

1. Brush

the left h a n d o f f the t a b l e t w o

to

inches, F i g u r e 4 9 2 . Y o u are n o w g o i n g t o fake is

up

exceptionally difficult to m a s t e r unless

practiced

properly.

It

is

mandatory

automatically

t o first

to a c o m -

Imp

them back

to

a n d feeds it to the right Pass.

Use

patter

that is

the handling of the I m p Pass. h a n d gestures o f f to the left,

Figure 4 7 8 . Hesitate,

then p r o d u c e

again f r o m the left j a c k e t lapel,

the c o i n

Figure 4 7 9 .

T h e right h a n d m o v e s in an arc d o w n to the

the left h a n d relaxes c o m p l e t e l y a n d d r o p s to

edge o f the table, Figure 4 9 9 , d r o p s the coin

E x a c t l y this s a m e a c t i o n m u s t b e

and

e m u l a t e d w h e n faking the m o v e . All of this is explained

the

2 . T h e left

i s t a k e n f r o m it. A s s o o n a s t h e c o i n i s t a k e n , table.

via

appropriate

plete rest p o s i t i o n on the table after the coin

the

the l a p p e d coin

hand

take the coin legitimately, observing the w a y the left h a n d d r o p s

and drop

P a s s , F i g u r e 4 7 5 . T h e left h a n d secretly p i c k s

the taking of the coin. (This s o u n d s easy b u t it

the hands

the basic rest p o s i t i o n again for the I m p

continues

off

to

the right,

Figure 4 8 2 ,

where the coin is again seen to have vanished.

in greater detail in Chapter Three

T h e c o i n is, o f c o u r s e , secretly c a u g h t b y the

under the section " F a k e T a k e . " )

left h a n d . 3. T h e right h a n d reaches over to t a k e the coin

as

shown in

Figure

493.

3. T h e left h a n d

At the s a m e

to the table edge to the position of Figure 4 8 4 ,

h a n d t o w a r d the a u d i e n c e , Figure 4 9 4 , retain-

laps the coin, then m o v e s in a c o n t i n u i n g arc up

ing the coin. T h e left h a n d d r o p s to the table,

t o the position o f Figure 5 0 1 . S a y , " T h e coin

the h a n d slightly b e l o w the table as s h o w n in

g o e s u p , u p , u p . . . ." R u b the left fingers a n d

Figure 4 9 5 , as the right h a n d pretends to rub coin

into

the

left j a c k e t

sleeve,

the c o i n

from the right lapel, Figure 5 0 0 , m o v e s d o w n

t i m e the left h a n d r o t a t e s i n w a r d , b a c k o f the

the

now produces

the

Figure

c o i n will a p p e a r t o h a v e v a n i s h e d i n thin

air, F i g u r e 5 0 1 .

488. 4. R e p e a t the vanish of the coin from the right hand, hand

as

and

its

depicted

reappearance in

Figures

489

in

the

Phase

left

Seven

and 490.

Phase F o u r can be repeated t w o or three m o r e

1.

times.

A g a i n t h e h a n d s fall t o t h e b a s i c r e s t

position. 72

As

the

right

hand reaches

to

the

right t o p l u c k a n i m a g i n a r y c o i n f r o m t h e air,

2. R e p r o d u c e the coin, using the handling

F i g u r e 4 8 7 , the left h a n d p i c k s u p the l a p p e d

of Phase Eight, Step 2.

coin.

3. Slap

2.

Follow

the

sequence

the

coin

into

the

left

hand,

so

that it c o m e s to rest on the left p a l m . S a y ,

of Figures 4 8 8 ,

4 8 9 , and 4 9 0 t o p r o d u c e the coin again. T h e n

"You

display the coin as s h o w n in Figure 4 6 8 deep

hand. . . . "

in the left p a l m , r e a d y for the R e v o l v e .

the coin a s s h o w n i n Figure 5 0 9 a n d 5 1 0 . T h e left

3. Do the Revolve Vanish, as the coin is apparently 502

and

slapped 502.

to

smithereens,

know,

I

can

The

hand

pass

right

closes

through

the left

hand pretends

to take

into

it

a

fist,

retaining

the

p a l m e d coin.

Figures

Brush the hands to s h o w the

4. The

palms empty.

right

hand

takes

the

apparent

coin, Figure 5 1 1 , and slaps against the b a c k of the

left

hand.

hand opens,

At

the

Figure

same

instant the left

5 1 2 , a n d the coin drops

through. Phase

Eight

1. S a y , "Isn't that b e a u t i f u l ? " T h e hands drop

Phase

to the rest p o s i t i o n for the I m p Pass as

Ten

the left h a n d gets the p a l m e d coin, a n d feeds it to the right hand.

1. Y o u

now perform what appears to be

2. T h e left h a n d reaches to the left (Fig-

a n i m m e d i a t e r e p e a t . T h e left h a n d c l o s e s i n t o

ure 4 7 8 again). Then say, " N o , wait a minute.

a l o o s e fist w i t h o u t m o v i n g f r o m t h e p o s i t i o n

H e r e i t i s . " T h e left h a n d o p e n s the left j a c k e t

of

lapel

tabled

as

duces

the

the

right

hand

reaches

in and pro-

Figure

band. from

Figure

Look."

the b o d y

2. The over

T h e right h a n d m o v e s

and

sweeps

back,

the left

against

5 0 6 . When it reaches the edge of the

the

hand,

moving, and when it reaches the center of the

Figure

table y o u say,

appears."

"I just put it here." Tap

right

hand moves

to

position

hand, Figure 5 1 4 , as y o u say,

"I'll do it o n c e m o r e . . . ." T a p the right h a n d

and d o w n to the table,

table it drops the coin, Figure 5 0 7 , continues

palm-down

down,

m o v e s up a n d off the table.

3. " Y o u p r o b a b l y don't k n o w that I use a away

T h e right h a n d c o n t a c t s the

palm

Figure 5 1 3 , lapping the coin as the right h a n d

c o i n , F i g u r e 5 0 4 , a n d d i s p l a y s it,

Figure 5 0 5 . rubber

512.

coin,

the

and

left,

immediately

s h o w that

515,

as

you

open

the

left

the coin has vanished, say,

". . . and

it

dis-

r i g h t h a n d a g a i n s t the t a b l e , t h e n

o p e n the right h a n d , Figure 5 0 8 , a n d the coin has vanished once more. Phase

1. Gesture Phase

Nine

and

Eleven

say, "That's all," Figure

5 1 6 . T h e h a n d s then a s s u m e the rest position as y o u remark, "Isn't that terrific?"

1.

Brush the hands to show them e m p t y

2. R e p r o d u c e the coin, using, for e x a m -

a n d a s s u m e the rest p o s i t i o n a g a i n , left h a n d

ple, the handling of Phase Eight, Step 2.

in the lap. S a y , " E v e r y t h i n g disappears at the snap

of the

"snap," you

snap

the

fingers." right

As

hand

you moves

the right fingers

3. Slap

say the w o r d forward

to emphasize

Figures

and the

the

coin

up

from

and 5 1 8 , as y o u say,

"This is

right

in

Figure

517

and

to

the

left

in

Figure 5 1 8 to e m p h a s i z e the throw.

rest position at the edge of the table a n d y o u the

the coin i n t o the o p e n left h a n d ,

a b o u t the b e s t . " N o t e h o w the b o d y leans to

words. T h e right hand then m o v e s b a c k to the pass

517

4. T h e vanish is n o w enacted. T h e coin is

the left h a n d t o t h e

p i c k e d u p a n d s l a p p e d i n t o the left h a n d a g a i n

right h a n d again using the I m p Pass.

and 73

the left h a n d closes a r o u n d the coin as

shown opens

in

Figure

and the

519.

Then

the

right h a n d takes

the

left

hand

the

coin by

the edges as s h o w n in Figure 5 2 0 .

and relaxes

521

at the edge

the

of the table,

522,

still

apparently

table

at

this

point,

as

the

right

hand

Figure 5 2 3 . 8. S n a p the right fingers. S a y , " L o o k , it's finished."

6. T h e right h a n d describes a circle on the as

Figure

d e p o s i t s the a p p a r e n t c o i n i n t o the left h a n d ,

its grip o n the c o i n , a l l o w i n g t h e

c o i n t o fall i n t o t h e l a p . table

hand,

7. B o t h h a n d s are at or near the center of

5. T h e right h a n d m o v e s b a c k to the position of Figure

left

holding the coin.

O p e n b o t h hands a n d the coin has

completely vanished, Figure 5 2 4 .

it moves counter-clockwise back to

74

10

The Helicopter Card A Y , " T h i s trick i s called the Heli-

ly see the A c e of C l u b s sliding into the fan.

copter Card trick." 1. tor take

8. Slide the card in so that it is aligned

H a n d the deck to the specta-

w i t h the c a r d d i r e c t l y a b o v e it. A l s o , y o u slide

for shuffling. After he shuffles,

the A c e of C l u b s in to a p o i n t where the right

off the top half of the deck and hold it

thumb

i n the left h a n d . T h e o t h e r h a l f i s s p r e a d o u t over the tabletop. 2. Fan

can just nip

the

u p p e r left c o r n e r o f

the c a r d a b o v e the A c e o f C l u b s , Figure 5 3 1 . 9. The

the other half of the deck as y o u

out

of

right

the

hand n o w pulls b o t h cards

fan,

but

the

right

hand

rotates

say jokingly, "This half of the deck I'm going

slightly at the wrist so that the

to

swings

counter-clockwise as it is pulled out.

Figure

532

arrange

spectator, of the

in

a beautiful

"I want you

fan,"

fan."

Say

to

the

to take one card out

shows

an

double card

e x p o s e d view of the

Figure 5 2 5 . A s y o u adjust the

h a n d l i n g at this p o i n t . T h e r e is an indifferent

fan, m a k e sure the center few cards are sepa-

card behind the A c e of Clubs. N o t e also that

rate from one another.

t h e A c e o f C l u b s i s not i n l i n e w i t h t h e o t h e r

3. E x t e n d the d e c k to the s p e c t a t o r , Figure

526.

fingers

Note

are

in

Figure

extended

526

that

the

cards

left

or s p r e a d u n d e r the fan

the

fan

but

has

been

pivoted

out

about to be enacted.

so that they c o m e into contact with the cen-

10. The

ter few cards of the fan. 4.

in

slightly. This is to facilitate the steal that is

double

T h e spectator then chooses a card, Fig-

right

card

Clubs

clears

h a n d continues pulling the

to

the

the

fan,

right until Figure

the

Ace

of

5 3 3 . T h e right

ure 5 2 7 . As s o o n as the card is taken, Slydini

fingers

says,

further to the right so it easily clears the fan.

"I

knew you

were

going to take that

c a r d . I n e v e r m i s s . " T h e n h e a d d s , " D o y o u re-

facilitate in pulling the A c e of Clubs

1 1 . T h e left fingers then m o v e a w a y f r o m

m e m b e r the c a r d ? G o o d . M a y I have the c a r d ? "

the

fan.

Only

t h e l e f t t h u m b a n d first f i n g e r

5. T a k e the card from the spectator, Fig-

h o l d the fan a t this p o i n t . T h i s a l l o w s y o u t o

ure 5 2 8 , a n d turn the card so it is face up as

slip the A c e of C l u b s u n d e r the fan where it is

y o u say,

caught between

"I c o u l d l o o k at the card. B u t that

1 2 . T h e h a n d s act i n s y n c h r o n i s m a t this

card very c l o s e l y . " 6. Turn

the

card

face

p o i n t . A s the left fingers pull t h e A c e o f C l u b s

down and quickly

snap it d o w n w a r d so it s n a p s o f f the fan a n d

down

o n t o the tabled cards, Figure 5 2 9 . In the s a m e

first

motion tap

view,

the

t h e l e f t f i r s t a n d s e c o n d fin-

gers, Figure 5 3 4 .

isn't n e c e s s a r y . B u t I w a n t y o u to f o l l o w this

chosen card

against three or

and

out

of sight,

finger pull Figure

the

535.

the right t h u m b a n d

indifferent The

end

card up

result

from

into the

o f this

spectator's point of view is shown in Figure

m o t i o n is to c o n v e y that y o u are d o i n g s o m e -

5 3 6 . There is a card o u t j o g g e d from the fan,

thing suspicious. When y o u have aroused audi-

a n d he a s s u m e s it is his c a r d .

four

of

the

tabled cards. The whole

ence suspicion,

13. Slowly

start to put the chosen card

swing the

right h a n d a r o u n d

b a c k into the fan, then c h a n g e y o u r m i n d a n d

to the spectator, Figure 5 3 7 , as y o u ask, " D o

show

y o u k n o w where the card i s n o w ? "

the

face

of

the card to the

audience.

14. When the s p e c t a t o r says the card is in

S a y , " Y o u r c a r d i s still h e r e . " 7. N o w swing as Ace

you of

begin Clubs

to in

the

the fan, y o u ask, " Y o u m e a n it c o u l d n ' t be in

fan a r o u n d t o the left

another

place the chosen card (the the

photos)

into

the

place?"

N o w point to the cards

on

the table, Figure 5 3 8 , a n d say, " Y o u m e a n it

fan,

can't be here?"

F i g u r e 5 3 0 . N o t e that the a u d i e n c e can clear75

15. At

this

point

spectator to pick up

the

ing y o u r m i n d ; instead of s h o w i n g the specta-

each and every card on

you

do not want

tor his card, y o u are g o i n g to s h o w him s o m e -

the t a b l e . S o y o u s a y , " I f it's here, i t m u s t b e

thing different. Push the o u t j o g g e d card flush

on top.

with the deck, then square up the p a c k .

L o o k at any card on t o p of the pile

a n d p u t i t b a c k a g a i n . " H e will l o o k a t t w o o r three cards,

2 1 . S a y , " B y the w a y , what's the n a m e o f

Figure 5 3 9 . When he is satisfied

this t r i c k ? " When the s p e c t a t o r s a y s it's the

that his c a r d is n o t on the t a b l e , a c t helpful

Helicopter C a r d Trick, y o u open the b a c k o f

a n d point to another card on the table that he

t h e d e c k a b i t a n d b l o w t o w a r d it, F i g u r e 5 4 6 .

might have missed, as shown in Figure 5 3 9 ,

Then say,

a n d s a y , " D i d y o u see this o n e ? A n d that o n e

make

over t h e r e ? "

t a b l e w i t h the first finger, F i g u r e 5 4 7 .

" L o o k , look, here it i s , " as y o u

a spiral

motion

downward

toward

the

16. N o t e that as y o u gesture they see that

2 2 . T h e r i g h t first f i n g e r c o m e s t o r e s t o n

there is n o t h i n g in the right h a n d . S a y , " T h e n

the c h o s e n card. T h e spectator turns it face

you're

u p , F i g u r e 5 4 8 , a n d i t i s his c a r d .

satisfied

it's

not

on

the

t a b l e . " Call

a t t e n t i o n to the fan in the left h a n d . " W o u l d y o u like t o s e e this c a r d a g a i n ? " A s y o u s a y , ". . . this

c a r d . . ."

t h e right" h a n d m o v e s t o

the fan, as if to take the o u t j o g g e d card. T h e right

thumb

jogged brings

and

card the

as

first

finger t o u c h

shown

right

in

Figure

forefinger

the

out-

540.

This

directly

Phase

1 . S a y , " Y o u s e e , I t o l d y o u t o l o o k a t all

over the

the

u p p e r left c o r n e r o f the A c e o f C l u b s . 17. Because Ace

the

Two

cards

on

the

top,

and

there m u s t have

b e e n o n e c a r d y o u d i d n ' t s e e . I'll d o i t a g a i n . This time l o o k at every o n e . "

u p p e r left corner of the

of Clubs curls a w a y from the fan, it is

2.

e a s y t o c a t c h this c a r d a t the first j o i n t o f the

Fan

the

deck,

have a card chosen as

before, a n d take the card from the spectator,

right forefinger. B u t i f y o u c a n n o t q u i t e c a t c h

Figure 5 4 9 . A f t e r repeating the patter lines of

the A c e o f C l u b s , the left fingers p u s h the A c e

Phase One, Steps 1, 2, 3, 4, y o u say, "This

of Clubs up so that it is clipped b e t w e e n the

t i m e I ' m g o i n g t o p u s h y o u r c a r d all t h e w a y

first j o i n t o f t h e right f o r e f i n g e r a n d the heel

into the f a n . "

of the

hand.

Figure

541

shows

the A c e o f

3. Repeat Step 6. Then say, " R e m e m b e r ,

Clubs being stolen out. 18. When the

all t h e w a y i n . " P u s h t h e c a r d in, F i g u r e 5 5 0 ,

right

hand has c o p p e d the

until

A c e of C l u b s , it m o v e s to the rest position of

the

right first finger c o n t a c t s the u p p e r

edge of the fan. T h e chosen card (the F o u r of

Figure 5 4 2 . L o o k at the s p e c t a t o r as y o u say

S p a d e s in the p h o t o s ) is n o w flush with the

the w o r d , ". . . a g a i n , " Figure 5 4 3 . N o t e that

upper edge

of the

although

first

do

an

indifferent

card

(the

Queen

of

finger

fan.

not

T h e right t h u m b a n d

release their grip

on the

S p a d e s in Figure 5 4 4 ) shows in the p h o t o , in

u p p e r corner of the

actual practice the

hand c o m e s to a c o m p l e t e stop as if it has j u s t

faces of the fan are a w a y

f r o m t h e a u d i e n c e v i e w a t this p o i n t . 19. Say, The

right

"If

hand

the card is moves

from

F o u r of S p a d e s ; the right

p u s h e d the F o u r o f S p a d e s flush with the fan.

not here. . . ."

4. As

the position of

the

Figure 5 4 3 to that of Figure 5 4 4 , and drops

the

right

fan, it takes

hand

the

comes

away

from

F o u r o f S p a d e s w i t h it,

Figure 5 5 1 . When y o u reach the position of

the c h o s e n card onto the tabled cards as y o u

Figure

say,

then draw the F o u r of S p a d e s inward until it

" . . . not

h e r e . . . ."

Note

that the eyes

l o o k at the fan in Figure 5 4 4 , n o t at the right hand.

Without

the

right

palm.

At

this

point

the

right m i d d l e finger p u s h e s the F o u r of S p a d e s b a c k against the heel o f the right h a n d , F i g u r e

must

be

there."

right

contacts

m o v e s b a c k t o the fan a s y o u s a y , F i g u r e 5 4 5 , it

the

t h e r i g h t t h u m b a n d first f i n g e r

hand

". . . then

hesitation

552,

Look

at

the

553.

s p e c t a t o r as y o u say this. 20. Say,

The

card

ends

up in the Slydini Palm

position of Figure 5 5 4 , shown in an exposed

" L e t m e s h o w y o u this a little

view i n F i g u r e 5 5 5 a t this p o i n t . N o t e t h a t the

differently." Y o u act here as if y o u are chang-

actual p a l m i n g of the c a r d is d e l a y e d until the 76

right h a n d reaches the p o s i t i o n o f F i g u r e 5 5 3 .

Figure 5 5 5 .

5. Gesture t o w a r d the s p e c t a t o r as s h o w n

3. T h e right h a n d m o v e s

i n F i g u r e 5 5 5 , e x c e p t t h a t t h e full b a c k o f t h e

away

from the

fan, leaving the actual c h o s e n card o u t j o g g e d

right h a n d i s t o w a r d the s p e c t a t o r . S a y , " D o

from

you

stolen card o n t o the tabled cards, m a k i n g sure

k n o w where the card i s n o w ? " A s y o u

the

fan.

T h e right h a n d then

d r o p s its

say, " D o y o u k n o w , . . ." gesture as shown in

that the p e o p l e in the a u d i e n c e see the d r o p

Figure

by

555.

When y o u say,

". . . where

the

card is n o w ? " your hand has swung around to the

position

of

Figure

moving

the

right

hand suspiciously

over

the tabled cards.

5 5 6 . T h e right h a n d

4. S a y , " N o w y o u know positively where

then c o m e s to the rest position of Figure 5 5 7 .

your

T h e right h a n d d o e s n o t freeze in p o s i t i o n at

p o l i t e t o tell y o u t h a t t h e y p o s i t i v e l y s a w t h e

this p o i n t . I m m e d i a t e l y s a y , " Y o u m u s t k n o w

chosen card

where it is this t i m e , " again gesturing with the

onto

right h a n d ,

always

k e e p i n g the right h a n d in

card i s ? " Most

the

stolen

spectators

from

the

will

be

too

fan and l o a d e d

t a b l e d c a r d s , b u t s o m e o n e w i l l in-

variably voice suspicion. If they don't, simply

motion.

pretend to detect suspicion in the spectator's

6. Then gesture

the tabled cards with

tone

of voice.

the right h a n d a s y o u s a y , " I t c a n ' t b e h e r e ? "

say,

" Y o u ' r e suspicious. Where d o y o u think

Figure

the chosen card i s ? "

558.

Then

to say,

"Take

a look." The

spectator turns over one or t w o cards on the

5. L e t the s p e c t a t o r l o o k at several of the

table, Figure 5 5 9 . 7. As

you

t a b l e d cards. T h e n , w h e n he has failed to find

continue

to

gesture

to

tabled cards, saying,

" H o w a b o u t this

you

or

eventually

drop

release

the

the

his

one,"

palmed

card o n t o the tabled cards. the

same

card

on

the

dreaming.

The

outjogged

card

table,

card

is

from

say,

"You

must be

still h e r e . " T a k e t h e the

fan w i t h the right

hand and show it to be the selected card.

8. Go on f r o m here with the finish, handling it

Point to the tabled cards and

6. N o w

w a y as the finish of P h a s e

replace

the

chosen

card

in

the

c e n t e r o f the fan b u t p e r f o r m the S l y d i n i F a n

One.

Switch of Phase One, Steps 8, 9, 10, 1 1 , and 12. 7. N o w repeat the closing of Phase One, Steps Phase

Three

13

through

22,

to

reveal

the

chosen

card once m o r e on the table.

S a m e as Phase One. Y o u can repeat Phase T w o also. Phase

Five

1. S a y , "I'll do it a g a i n , " gesturing as in Phase

Figure

Four

560,

adding, " T h i s time, believe m e ,

I ' m g o i n g t o give y o u c o m p l e t e s a t i s f a c t i o n . " sucker phase of the routine.

2. The spectator chooses a card; you take

Psychologically the audience is really watch-

it a n d p l a c e it in the fan as d e s c r i b e d in P h a s e

This

is

the

ingi.at t h i s p o i n t . 1.

T w o , b u t w h e n the right h a n d reaches the rest p o s i t i o n of Figure 5 5 7 , it allows the c a r d to

Have a card c h o s e n . T a k e it b a c k and

insert i t i n the fan. T h e right h a n d p u s h e s its card

into

above pulls

the

drop into the lap.

fan in line with the c a r d j u s t

the c h o s e n card.

3. N o t e

the

right

hand

never

goes

close to the t a b l e d cards. T h e r e f o r e , the audi-

out the d o u b l e card, e x a c t l y as in the

ence k n o w s the chosen card m u s t be in the

first p h a s e o f t h e r o u t i n e . 2.

that

T h e right h a n d then

T h e right

ferent card into

fan.

t h u m b t h e n p u l l s t h e indif-

" Y o u w o n ' t believe this, s o w a t c h very

c l o s e l y . " C l o s e up the fan, suspiciously square

the p a l m , the p a l m position

it up,

Figure 5 6 1 , drop the packet onto the

being the s a m e as the Slydini Palm position of

table,

then brush

77

the

hands

and show them

empty, Figure 5 6 2 , as y o u say, " N o w y o u can

card is shifted to the Slydini Palm position.

l o o k at any c a r d . " T h e gesture emphasizes the

Figures

567

and

568

are

a continuation of

t h i s a c t i o n a s t h e c a r d m o v e s i n t o a full p a l m

words.

position

4. T h e h a n d s d r o p to the rest p o s i t i o n of

and

both hands c o m e into view to

Figure

5 6 3 , a l l o w i n g the left h a n d t o get the

suit the action to the s p o k e n w o r d s , " L o o k at

lapped

card.

any o n e . "

" T a k e your t i m e . " As y o u say

6. The

this, gesture with the right h a n d , Figure 5 6 4 , then

drop

table

and

the

right h a n d to

the table,

the edge of the

hands

drop

b a c k to the edge of

Figure 5 6 9 , as the spectator turns

feed the c h o s e n c a r d to the right

up c a r d s . T h e h a n d s are k e p t in m o t i o n as the

hand, Figure 5 6 5 . This is, o f c o u r s e , the I m p

s p e c t a t o r l o o k s over the cards. E v e n t u a l l y sug-

Pass.

gest a particular card to the spectator, Figure

5. Say, " A n y card. I don't care." Again

5 7 0 , as the right h a n d d r o p s the p a l m e d card.

gesture with the right h a n d , F i g u r e 5 6 6 , as the

7. Finish per Phase One, Steps 21 and 2 2 .

78

11

Paper Balls Over the Head A N Y o f Slydini's tricks develop out

walk

of

f r o m the w i n g s a n d h a v e the s p e c t a t o r sit o n

situations

that

appear

natural

and not contrived. This routine has been many

years.

in

It

has

overwhelmingly audiences

the

Slydini

the chair at a b o u t stage center.

r e p e r t o i r e for

Note

never failed to bring an

favorable

response

from

ahead of y o u to the stage. T a k e a chair

that there s h o u l d n o t b e m o r e light

behind y o u than in front of y o u . T h e reason

all

is

w h o have seen it performed. It is

that

when

used by many performers today and has be-

and

c o m e a contemporary classic.

Normally,

T h e trick is one of those strikingly visual routines

that

the ball is secretly t o s s e d , the

s p e c t a t o r will see a s h a d o w c a s t by the ball will

due

can be done close up or on a

to

thus

know

there

the

will

presence

how be

the

trick is d o n e .

m o r e light in front

of spotlights and foot-

lights, b u t y o u s h o u l d b e alert t o the p o s s i -

stage with equal i m p a c t , b u t it is best suited

bility

t h a t o n c e in a t h o u s a n d t i m e s y o u will

for s t a g e p e r f o r m a n c e . D u r i n g the a c t , or as a

have

more

closing item in the act, it has equal force, b u t

stance w h e n there is m o r e light at the rear of

it is b e s t u s e d as S l y d i n i h i m s e l f u s e s it, as an

the stage, y o u can minimize the problem by

encore

seating the s p e c t a t o r further b a c k t o w a r d the

from

an

audience

which

demands

more.

rear of the stage. B u t if the p r o b l e m is severe,

Choosing ence:

light b e h i n d y o u . In the circum-

the

spectator

from

the

audi-

y o u w o u l d , o f c o u r s e , t r y i f p o s s i b l e t o rear-

When y o u go into the audience to pick

range

a spectator, there are certain s i m p l e rules to observe in c h o o s i n g the right p e r s o n . Pick a young

man

in

his

mid-twenties

clean-cut and intelligent.

who

the lighting so the r o u t i n e c a n be per-

formed properly. O n c e the s p e c t a t o r is seated, turn to the

looks

a u d i e n c e , smile a n d s a y , " L e t ' s give h i m a nice

If y o u should hap-

h a n d . " Begin the applause by clapping y o u r

p e n to p i c k a wise g u y or a smart aleck, so

hands.

m u c h the better.

then follow.

It

is

The

Slydini

b e t t e r if the s p e c t a t o r is w e a r i n g a

a p p l a u s e f r o m the a u d i e n c e will now

looks

at

the

spectator

and

j a c k e t and hence has an easily accessible hand-

says, "Would y o u like to k n o w why I p i c k e d

kerchief

you

pocket

handkerchief

in

tucked

the

jacket.

into

the

If he

has

a

handkerchief

from

the

audience?" He

will s a y ,

yes.

Y o u then reply, " Y o u and I are going to do a

pocket, so m u c h the better. Don't pick some-

trick.

o n e w h o w e a r s g l a s s e s b e c a u s e h e will c a t c h a

" B u t before we start, I'm going to ask y o u

reflection in the glass when the ball is tossed

a question. Do y o u have good eyesight?" T h e

over his h e a d . Do n o t p i c k a w o m a n b e c a u s e

spectator

the trick is a challenge a n d a w o m a n w o u l d

sometimes ask, " S u p p o s e y o u were outside. It

feel e m b a r r a s s e d or a w k w a r d in s u c h a situa-

is a clear d a y a n d y o u have no obstructions in

tion. turn

Do not choose a b o y because he would around

too

will u s u a l l y s a y , y e s .

S l y d i n i will

front o f y o u . H o w m a n y miles can y o u s e e ? "

m u c h and would eventually

He then a d d s , " a p p r o x i m a t e l y . " This lets the

spot the evidence. An older person is similarly

s p e c t a t o r k n o w that h e i s n o t e x p e c t e d t o give

avoided b e c a u s e it is n o t appropriate to pre-

a mathematically precise answer. The specta-

sent a c h a l l e n g e to a p e r s o n w h o is dignified

tor replies, " A b o u t seven m i l e s . " Slydini says,

in a p p e a r a n c e . Of c o u r s e , if it is n e c e s s a r y (if

" Y o u m e a n n o t six miles or eight, but seven."

you

T h e s p e c t a t o r will u s u a l l y smile a n d s a y that

are

working

a senior citizen's club, for

e x a m p l e ) then the a b o v e rule w o u l d n o t h o l d . Once

the

spectator is

chosen,

he does not know exactly.

have him

If, t o t h e q u e s t i o n c o n c e r n i n g w h e t h e r o r 79

not he has g o o d eyesight, the spectator says,

displayed as shown in Figure 5 7 5 so that it is

no,

clearly

you

say

with

a smile,

" Y o u mean you

can't see m e ? "

The

Continuing, Slydini says, "We have to be sure.

hand,

Would y o u mind if I test your e y e s ? "

To

save

to

the

spectator

and

to

the

time

paper

open

hand now approaches

the

left

Figure 5 7 6 , takes the ball, Figure 5 7 7 ,

Notice that Slydini has bent

Slydini already has ten to

napkins

right

and swings toward the spectator, Figure 5 7 8 .

T h e s p e c t a t o r s a y s i t i s all r i g h t . fifteen

visible

audience.

flat

over slightly in

Figure 5 7 8 . At the s a m e time he says to the

and readily

available o n his t a b l e . H e p i c k s t h e m u p a n d

spectator,

places t h e m in t w o s and threes on the specta-

c l o s e r ? " T h e spectator leans forward as s h o w n

tor's lap. T h e n a p k i n s are p l a c e d l o o s e l y o n

in Figure 5 7 8 .

the

spectator's

lap,

and are n o t p l a c e d in a

" W o u l d y o u m i n d c o m i n g in a little

" I ' m going to explain everything I do so

n e a t flat p a c k a g e . T h e s i t u a t i o n a t this p o i n t

there

is shown in Figure 5 7 1 .

going to take the ball a n d I'm going to place it

will b e

no

excuse," Figure 579.

"I'm

A t this p o i n t S l y d i n i l e a v e s t h e s p e c t a t o r ,

i n m y h a n d , . . . a n d I'll c l o s e t h e h a n d , " F i g u r e

walks to the footlights and addresses the audi-

5 8 0 , " . . . a n d I'll s q u e e z e t h e b a l l . W h e n I o p e n

ence as follows: " L a d i e s and gentlemen, what

the hand, . . . " Figures 5 8 1 and 5 8 2 . Y o u n o w

I'm going to do now is known as misdirection.

look

N o w y o u will see h o w a m a g i c i a n i s a b l e t o

". . . y o u ' l l

directly

at

the

see

the

spectator

fool one person or t h o u s a n d s . In other w o r d s ,

a p p e a r . " Y o u are l o o k i n g a t him a s y o u say

ball

you

say,

completely

as

dis-

s o m e t h i n g t h a t all

these last w o r d s a n d y o u are e m p h a s i z i n g the

of y o u will see . . . (he p o i n t s to the s p e c t a t o r

w o r d s , g e s t u r i n g w i t h the left h a n d . W h e n y o u

seated

say,

I'm

going to on

demonstrate

the

chair b e h i n d h i m ) b u t he'll be

left p a l m , F i g u r e 5 8 3 , as the ball is r e p l a c e d in

the only one w h o can't see. Please don't point or say what

anything because

I'm

tinue.

doing,

You

if he

gets

wise

". . . p e a r , " the right h a n d c o n t a c t s the

the left p a l m . N o w for the crucial p o i n t o f the

to

routine.

I would not be able to con-

The

timing must

be

absolutely

ac-

curate and m u s t synchronize c o m p l e t e l y with

can laugh, enjoy yourselves, but

the handling.

let h i m find o u t later for h i m s e l f . " If there are children in the front rows, point to t h e m a n d

Two

things

happen

simultaneously here.

s a y , " D o n ' t tell h i m h o w it's d o n e o r let h i m

This is a throw-off d e v e l o p e d by Slydini that

k n o w what's going o n . "

is so natural and so strong in misdirection that it cannot be

This speech has a d o u b l e i m p a c t ; the audi-

followed by

the

spectator. The

ence is put in the proper frame of mind, but

eyes l o o k at the s p e c t a t o r as y o u say the last

also, the spectator seated on the stage begins

syllable of "disappear." Y o u then say, " C o m e

to wonder what the

in,

have

in

magician could possibly

ment

will

what

will

After

show in

his

face,

c o m e in." At e x a c t l y the s a m e time the

right h a n d m o v e s b a c k in a sharp gesture as if

m i n d . U s u a l l y his l o o k o f bewilder-

to

thus adding to

dramatize

that y o u

want the spectator to

s o o n b e c o m e a hilarious situation.

c o m e in a little closer. T h e ball is released at

Slydini

this

the

has

given

spectator

this

speech

he

turns

to

"And

y o u will try t o c a t c h m e , O k a y ? " A t

point.

But

at

the

same

time

the

head

turns t o w a r d the left h a n d as the g a z e swings

onstage and he says,

to the left h a n d .

this p o i n t he gestures as s h o w n in F i g u r e 5 7 2 .

T h e action is captured in the stop-action

Slydini then a s s u m e s the position of Fig-

shot

of

Figure

584

as

Slydini

first

says,

ure 5 7 1 , as he says, " M a y I have one n a p k i n ? "

" C o m e in,"

Slydini

takes

leases the p a p e r ball, a n d s w i n g s his g a z e to-

Figure

573

the n a p k i n w i t h the left h a n d , and he

says,

" D o y o u see

this

ward

n a p k i n ? T h e closer I c o m e to y o u , the cleargoing

to

ball

up

"Come the

napkin."

left

t h e r i g h t h a n d , re-

hand. T h e gesture is repeated

with the right h a n d as S l y d i n i o n c e again s a y s

er y o u c a n see the n a p k i n . " "I'm

the

gestures with

in"

in

Figure 5 8 5 . T h e b a c k o f the

right h a n d is t o w a r d the s p e c t a t o r in Figure

He

rolls the n a p k i n into a ball as s h o w n in F i g u r e

5 8 4 a n d 5 8 5 , thus screening the fact that the

574,

right h a n d is e m p t y at this p o i n t .

"You

still

see

the

b a l l ? " T h e ball is 80

" C o m e in,

the

c o m e i n , " is a quick gesture; it is d o n e the

ure

first t i m e t o r e l e a s e t h e b a l l ; b u t i t i s d o n e t h e

m e n t o f the right h a n d s e e m s t o b e c o m p l e t e -

second

reason. The move-

ly l o c k e d in as a natural m a n n e r of dramatiz-

right h a n d from the position of

ing t h e w o r d s , " C o m e in, c o m e i n , " a n d t h u s

T h e gesture that

ment

time

for

of the

accompanies

another

right

hand

585 for

freezes

a fraction

in of a

the

position

second,

of Fig-

the

move-

5 8 4 is a sharp, quick

is n o t s u s p e c t . T h e action of freezing the right

g e s t u r e , a n d for t h a t r e a s o n i t w o u l d b e i m m e -

hand is the " s h o o t i n g the g u n " c o n c e p t men-

diately suspect. T h e spectator could not help

t i o n e d earlier.

Figure

but

583

to

Figure

conclude

that

the

right

hand

moved

T o s u m m a r i z e the a c t i o n , w e will c o n s i d e r

sharply to the right to t h r o w or t o s s the p a p e r

the m o v e m e n t of the hands, the eyes, a n d the

ball over his h e a d .

w o r d s that are s p o k e n at each s t a g e :

But

if t h e

g e s t u r e i s r e p e a t e d , and then

THE E Y E S

THE HANDS

Figure 5 8 2 : the eyes look at the

The ball is held in the right hand. The right hand moves up and down to emphasize the words.

"When I open the hand. . . ."

Figure 5 8 3 : the eyes look at the spectator.

The ball is placed on the left palm just as the last syllable of the word "disappear" is said.

". . . y o u will see the ball completely disappear."

Figure 584: the eyes l o o k at the left palm.

The right hand swings back in a sharp gesture, releasing the ball.

"Come in. . . ."

Figure 5 8 5 : the eyes do not move from the left palm.

The empty right hand gestures again. Note that Slydini does not raise the right arm fully in Figure 5 8 4 or 5 8 5 .

". . . Come in."

ball in the right hand.

T H E WORDS

o f this routine oc-

l o o k s a s i f i t still h o l d s the b a l l . T h e b a c k o f

curs b e t w e e n Figure 5 8 3 and Figure 5 8 4 ; y o u

the right h a n d is kept t o w a r d the s p e c t a t o r as

l o o k at the spectator in Figure 583—he m u s t ,

you

of course, look back at you. Then in Figure

hand.

The

fundamental

concept

apparently

place

the

ball

into

the

left

In Figure 5 8 7 the right h a n d has apparent-

5 8 4 y o u r gaze swings t o the left h a n d , a n d the s p e c t a t o r ' s g a z e f o l l o w s . T h e r i g h t e l b o w re-

ly

mains stationary in the s e q u e n c e from Figures

hand closes as if it holds the p a p e r ball. T h e

583

right

to

584

to

585.

D o not swing the arm

deposited hand

the

waves

ball i n t o the left. T h e left over the c l o s e d left h a n d ,

u p w a r d b e c a u s e i t will t i p the m o v e ;

Figure 5 8 8 . S a y t o the spectator, " O k a y ? A r e

the s t a t i o n a r y e l b o w a c t s as a p i v o t p o i n t for

y o u s a t i s f i e d ? " T h e s p e c t a t o r will l o o k m o r e

the s w i n g o f the right a r m .

c l o s e l y at the left h a n d as the right is w a v e d

wildly

o v e r it, F i g u r e s 5 8 9 a n d 5 9 0 . T h e n t h e h a n d s

N o t e also in Figure 5 8 3 that the spectator d o e s n o t sit b a c k i n t h e chair. I f y o u f i n d h e

are o p e n e d , F i g u r e 5 9 1 t o s h o w the p a p e r ball

does,

has vanished.

gesture

for h i m

to

c o m e closer while

y o u talk, so that he is leaning forward in the

S a y , " S e e , nothing here," as y o u gesture

chair a n d i s n o t sitting b a c k . I f h e sits b a c k h e

t o w a r d the right j a c k e t sleeve, Figure 5 9 2 . A s

is that m u c h m o r e able to spot the m o v e of

y o u gesture t o w a r d the left sleeve s a y , ". . . or

Figure 5 8 4 . T h e right h a n d shown

in

Figure

here." T h e n say, " O r h e r e , " as y o u open the t o w a r d the left a s

j a c k e t , Figure 5 9 3 . Finally, tug o p e n the spec-

5 8 6 . T h e right t h u m b a n d

tator's hank p o c k e t as y o u say " a n d nothing

moves

first f i n g e r r e t a i n t h e i r o r i g i n a l p o s i t i o n w h e n

here."

they

sets up a later m o v e .

held

the p a p e r ball; thus the right h a n d 81

This

gets

the

hank pocket open and

Phase

o p e n , F i g u r e 6 0 2 . J u s t a s y o u finish the last

Two

sentence

the h a n d s c o m e to the rest p o s i t i o n

know

of Figure 6 0 3 a n d y o u l o o k at the spectator.

w h y ? " T h e s p e c t a t o r will s a y , n o , h e d o e s n o t

N o t e in F i g u r e 6 0 1 that the right h a n d is very

k n o w why. Y o u reply, " B e c a u s e I did it too

close to the spectator, m a k i n g it very difficult

Say,

"You

didn't

see

it.

Do

you

for h i m to l o o k at the right h a n d . B u t the left

f a s t . I'll d o i t v e r y s l o w l y t h i s t i m e . " T a k e another napkin from the spectator's

h a n d is in view, a n d y o u are l o o k i n g at the

l a p . Roll it into a ball. S a y , " Y o u didn't see

left h a n d , s o the s p e c t a t o r will n a t u r a l l y l o o k

the trick before because I p u t the ball into my

a t t h a t h a n d . H e will s a y , n o , h e d i d n o t k n o w

left

where

hand

this

way."

As y o u

say,

". . . this

the

p a p e r ball

w e n t . " I t ' s right h e r e . "

w a y , " the right h a n d p l a c e s the ball u p b e h i n d

T a k e the ball from under the s p e c t a t o r ' s chin,

the left h a n d a s s h o w n i n F i g u r e 5 9 4 . " Y o u

Figure 6 0 4 . Immediately say, " C o m e closer,

couldn't see the ball, r i g h t ? "

c o m e in,

Spectator says, see

the

your

The

hand

was

left

reply,

right. " W h y c o u l d n ' t y o u

ball?"

"You're

in

the

a n d repeat the s e q u e n c e

5 8 2 , 5 8 3 , 5 8 4 , 5 8 5 , t o cause the

ball to vanish once m o r e .

spectator says, because

very

c o m e in,"

of Figure

way. Smile, and

clever."

This invariably

gets a big laugh from the audience. Gesture as shown in

Figure

595

Phase

a s y o u s a y , " B u t this

Four

time I'm not going to put it that w a y . " When " I ' l l s h o w y o u h o w i t ' s d o n e . " M a k e an-

y o u get to the w o r d s ". . . that w a y , " p u t the b e h i n d the left h a n d again as s h o w n in

other paper ball from a napkin on the specta-

Figure 5 9 4 . Then say, " I ' m going to put it in

tor's lap. M a k e sure the spectator is watching

m y left h a n d this w a y . " P l a c e the ball i n the

closely,

left h a n d a s s h o w n i n F i g u r e 5 9 6 . S a y , " C o m e

closer he is, the funnier the n e x t gag is. S a y ,

in,

" I ' m g o i n g to p l a c e the ball right h e r e , " Fig-

ball

come

in,"

and

repeat

the

over-the-head

ure

move, Figure 597 as already explained.

leaning

605.

Look

forward

in

the

chair.

The

at the spectator and say, "I

want y o u to watch very closely." Y o u r excuse

Open the hands to show the paper ball has " Y o u still d i d n ' t s e e it, d i d y o u ? "

for l o o k i n g at h i m is to c o v e r the real r e a s o n ,

S a y this a s y o u l o o k a t the s p e c t a t o r , F i g u r e

that is, t h a t y o u w a n t t o fix i n y o u r m i n d the

598.

e x a c t l o c a t i o n o f his j a c k e t p o c k e t . W h e n the

vanished.

s p e c t a t o r leans even further f o r w a r d to get as close a l o o k as p o s s i b l e , y o u r right h a n d gestures as s h o w n in F i g u r e 6 0 6 . Y o u are actualPhase

ly p u s h i n g h i m b a c k a little as y o u say the gag

Three

line, a

paper ball,

attention

Figure

when

I

599.

did

"You

this. . . . "

didn't

above

pay

Pretend

"not

t o o c l o s e . " T h e right little finger

contacts the spectator's jacket at a point just

T a k e another p a p e r n a p k i n and roll it into

ment

to

the j a c k e t p o c k e t . In the s a m e m o v e the

thumb

and

first

finger release

the

p l a c e the b a l l i n t o the left h a n d , F i g u r e s 5 9 9

b a l l s o i t falls i n t o his j a c k e t p o c k e t , F i g u r e

a n d 6 0 0 , b u t retain it in the right h a n d in the

606.

direct p a l m . Wave the right h a n d over the left

t h i s p o i n t , not at the right hand.

hand

twice.

hands

". . . A n d then I did t h i s . " T h e

swing

apart

in

Note

The

w h a t is the start of a

that y o u l o o k a t the left h a n d a t

right

hand then

swings b a c k to

quick, very deceptive m e t h o d of s h o w i n g the

ball i n t o the left h a n d . Wave

hands

empty.

palm-up

The

position;

right

the

left

hand hand

601.

In

a continuation

the right h a n d

closes

in

a

over the left h a n d in a graceful m a n n e r . T h e n

opens

in

a

opens

p a l m - u p p o s i t i o n as y o u l o o k at the left hand, Figure

the

left, Figure 6 0 7 as y o u a p p a r e n t l y d e p o s i t the

the

hands

to

show

the

ball

has van-

ished, Figure 6 0 8 .

of this s a m e

"Look,

everyone

can see h o w it's d o n e ,

motion, and as y o u say, " D i d y o u see where it

b u t y o u can't see. I k n o w y o u ' d like to k n o w

w e n t , " the hands turn p a l m d o w n , b o t h hands

h o w it's d o n e s o I'll s h o w y o u a g a i n . " T a k e 82

another paper napkin from the spectator and

Phase

Seven

roll it i n t o a b a l l . R e p e a t P h a s e T h r e e a b o v e to vanish the ball and to apparently s h o w the

Actually

ball has vanished and b o t h h a n d s are e m p t y . The hands

"Do

the

ball

from

his p o c k e t .

N o w perform the basic vanish of Figures 5 8 2 ,

then c o m e to the rest p o s i t i o n of

5 8 3 , 5 8 4 , 5 8 5 , causing the p a p e r ball t o c o m -

Figure 6 0 9 .

there.

take

pletely vanish.

you

know

where

L o o k . " Point

the

ball

is?

It's

t o the s p e c t a t o r ' s j a c k e t

p o c k e t with the left h a n d .

He looks,

Figure Phase

6 1 0 , and sees the p a p e r ball.

Eight

Before the spectator has a chance to reach for the ball, y o u hand.

reach

for it with

" Y o u s t i l l d i d n ' t s e e it, r i g h t ? T h i s t i m e

the right

I ' m g o i n g t o m a k e a b i g p a p e r b a l l . " T a k e all

R e a c h into the spectator's p o c k e t , then

the

m o v e the h a n d straight u p , Figure 6 1 1 , 6 1 2 , 6 1 3 . Y o u are, in effect, m o v i n g the right h a n d up

toward

obliged 613

the

spectator's

face,

so

he

t o p u t it. not

T h i s m e a n s t h a t his g a z e shifts a w a y f r o m his and

toward

the

have

honestly

removed

the

the

spectator's

I ' m g o i n g t o tell y o u o n e thing. I f

so

good. . . .

This

is

the

only

chance

y o u ' v e g o t . " H o l d the ball as in Figure 6 1 9 .

right

S q u e e z e the ball so it is tighter a n d c a n be

hand as shown in Figure 6 1 3 . Thus he thinks you

from

y o u d o n ' t see i t this t i m e , it's n o t s o g o o d ,

t o get o u t o f the w a y o f y o u r right h a n d . pocket

napkins

p a p e r ball i s , " Figure 6 1 8 . " T h e r e ' s n o place

is

to straighten up as shown in Figure

handkerchief

remaining

lap a n d m a k e a giant ball. " L o o k h o w large this

covered by the hands. "First, I'm going to put

paper ball

it

f r o m h i s j a c k e t p o c k e t , a n d f r o m t h i s p o i n t all

inside

know

h i s a t t e n t i o n will b e o n y o u r r i g h t h a n d .

my

it's

hand,"

there,

Figure 6 2 0 .

right?"

You

"Now you

gesture

as

in

Figure 6 2 1 when y o u say the w o r d " k n o w " in " C o m e closer, c o m e closer," y o u say, and y o u perform the vanish of Figure

the

582, 583,

last

because

584, 585.

sentence. you

The

audience

will

laugh

are pointing out s o m e t h i n g that

is overwhelmingly obvious. "Now..."

the

right

hand

gestures

as

shown in Figure 6 2 1 , ". . . y o u k n o w I'm going to c l o s e the h a n d . " T h e right h a n d covers the p a p e r ball in the left h a n d , F i g u r e 6 2 2 . Phase

Six

" N o w , " the hands

shoot

o u t t o the left,

Figure 6 2 3 , as if y o u are m a k i n g a suspicious When has

the

spectator

vanished,

pocket

as

point

shown

realizes

that the ball

gesture.

t o w a r d his h a n d k e r c h i e f

in

Figure

614,

and

say,

once

pocket

more." The

again.

right

hand

"Now

S a y , "I'll do it reaches

Look

toward

time

the ball as s h o w n in Figure 6 1 5 , raises up as if

tor's

gaze

Figure to

handkerchief

6 1 7 , to

shift

up

and

from

as you say, " B l o w . "

the

ball has

him,

Figure

disappeared." 624.

"What

Pause. do

you

s p e c t a t o r is willing to believe any-

Regardless you

of

bet?"

how He'll

he

answers,

probably

say,

say, no.

Y o u t h e n s a y , " A h , b u t the b a l l i s still h e r e . "

force the spectaaway

the

"Would

the spectator, and continues moving

straight u p ,

at

thing.

i t held the ball, F i g u r e 6 1 6 , b a c k o f the right to

624,

t h i n k ? D i d the ball d i s a p p e a r o r n o t . " B y this

the spectator's j a c k e t p o c k e t , pretends to take

hand

swing the hands a r o u n d to the

Figure

T h e s p e c t a t o r will b l o w o n the h a n d s .

" T h e r e i t i s a g a i n . " H e s e e s t h e b a l l h a s ret u r n e d to his

Then

spectator,

O p e n the h a n d s and s h o w the ball as in Figure

his

625.

pocket.

If T h e right hand pretends to place the ball

the

appear,"

spectator open

the

says, hands

"yes, to

it

show

d i d disthe

ball,

i n t o the left h a n d . T h e ball vanishes. Point to

then

the spectator's p o c k e t . T h e ball has mysteri-

a p p e a r ? " T h e s p e c t a t o r says, n o . " B e c a u s e it's

ously

too

returned. 83

say,

" D o y o u k n o w w h y i t didn't dis-

b i g . . . . " Y o u p u t t h e b a l l i n t o t h e left

hand

and

look

at

the

spectator,

saying,

ball

has

utterly

vanished, y o u reach toward

". . . when I p u t it i n s i d e . " As y o u say the last

his h a n d k e r c h i e f p o c k e t a n d pull the h a n k o u t

w o r d of the sentence,

gaze toward

a bit as y o u say, " A n d nothing in y o u r pock-

" C o m e i n closer, c o m e in, c o m e i n , " a n d

y o u have i n effect o p e n e d his p o c k e t , o r rather

as y o u say this, p e r f o r m the m o v e of Figures

enlarged the o p e n i n g at the t o p of the p o c k e t ,

keep

the

the spectator, Figure 6 2 6 .

et." By pulling the hank out a bit toward y o u ,

5 8 2 , 5 8 3 , 5 8 4 , 5 8 5 . T h e end result i s s h o w n

thus

making it

in Figure 6 2 7 . It is a hilarious sight to see the

load

a ball

large

presence

paper

ball,

sometimes

the

size

of

a

that m u c h

into

the

easier later on

to

p o c k e t . Of course, the

of the handkerchief in no way

ob-

melon, sailing over the spectator's head, and

structs

you

in fact, it m a k e s the loading m o v e m u c h easier

should

get

the

audience.

the

left

to

laughter

and

applause

from

T h e right h a n d m o v e s t o w a r d

deposit

the

ball.

Note

that

the

the later loading m o v e of Figure 6 0 6 ;

b e c a u s e the h a n k acts as a guide for the p a p e r ball to slide b e h i n d . A l s o the light color of the

h a n d s are rather e x t e n d e d or c u p p e d in F i g u r e

hank

6 2 8 as if y o u held a large ball.

the ball is l o a d e d behind the hank.

Extend

the cupped hands to

helps

Slydini

the specta-

obscure

the c o n c e a l e d ball after

developed

this routine during the

tor, Figure 6 2 9 . S a y , " B l o w . " T h e s p e c t a t o r

second world war. In a time of national con-

does.

cern

Y o u then open the hands as shown in

for the t r a g e d y of the war, Slydini u s e d

Figure 6 3 0 , to reveal that the giant p a p e r ball

this r o u t i n e to bring laughter to the a u d i e n c e .

has vanished.

He

N O T E : At the beginning of the routine, if you

choose

chief get

to

in

his

performed

it

in

Boston

nightclubs

and

theatres where it was sensationally received. It

a spectator who has a handker-

is

handkerchief pocket, when y o u

style a n d is as m u c h a classic t o d a y as when

Figure

593

a n d have s h o w n that the

a

comedy

routine that never goes out of

originally p e r f o r m e d .

12

Poetry in Magic: The Close-Up Cigarette Production HE

production

magical back to

of

context the

cigarettes probably

in

Preparation

a

dates

invention of cigarettes

S t a r t with several cigarettes in the l a p , the

themselves, b u t it was n o t until the

number depending on how many you want to

present century that the cigarette p r o d u c t i o n

produce,

as a routine

wish the routine to b e . In Figure 6 3 1 Slydini

or c o m p l e t e act caught on with

and

consequently,

how

long

you

m a g i c i a n s . M a n i p u l a t i o n with unlighted ciga-

starts with six cigarettes in the lap. N o t e that

rettes

the tablecloth is pulled or d r a p e d o n t o the lap

turn

was

performed

of the

in

Paris

at

about

the

century. The magical production

to act as a servante. Figure 6 3 1 is an e x p o s e d

o f c i g a r e t t e s , i n c l u d i n g lit a n d unlit c i g a r e t t e s ,

v i e w w i t h t h e left h a n d t a k e n a w a y ; i n a c t u a l

can

p r a c t i c e b o t h h a n d s w o u l d rest on the table at

be

found in

the literature

of that time,

but interest in the subject was generally sub-

the

dued.

table, either b e c a u s e it was p l a c e d there after

To

Senor

The

cigarette

package

is

on

the

another trick, or s i m p l y taken from the pock-

F r a k s o n and Cardini go credit

et a n d t o s s e d o n t o the table.

for the i m m e n s e increase in interest in cigarette acts

start.

T h e r o u t i n e m u s t b e d o n e t o m u s i c , pref-

from the 1 9 2 0 ' s on. Techniques in

erably

the manipulation of cigarettes proliferated so

sentimental

maximum

rapidly that by 1 9 3 7 Keith Clark was able to

to

turn out a hefty e n c y c l o p e d i a on the subject.

impact.

achieve

is

one

or lyric m o o d m u s i c , T h e effect y o u

for

are trying

of elegant, flowing move-

m e n t as cigarettes are a p p a r e n t l y p l u c k e d o u t A l m o s t all a c t s d e v o t e d t o t h e p r o d u c t i o n of cigarettes in

that

insure

of

shared a c o m m o n characteristic

elaborate

apparatus

the

air

in

endless

procession.

Without

m u s i c the effect lacks proper b a c k g r o u n d and

was required to

l o s e s m u c h o f its visual b e a u t y .

the s m o o t h , continuous production of

cigarettes. Besides g i m m i c k s like droppers a n d holdouts, cated

tonguing of cigarettes and sophisti-

sleight-of-hand

techniques

into most successful acts.

were

woven

Phase

p r o b a b l y t h e first m a g i c i a n t o p r o p o s e a c o n tinuous of

cigarette

gimmicks,

develop

a

1. T h e

p r o d u c t i o n without the use

but it

close-up

was

left

cigarette

Slydini

to

production

to

as

are

in

the lap

as

ex-

at the edge of the table. T h e b o d y faces or is turned feet

which used no gimmicks whatsoever. chapter

cigarettes

p l a i n e d a b o v e . T h e h a n d s are resting naturally

beautiful and elegant as any stage act and yet

This

One

G. W. Hunter was

a

at

shoes

on

prevents

is concerned with Slydini's

quarter turn the

ankles,

the the

floor.

to the left.

Cross

the

and rest the toes of the This raises the legs a n d

cigarettes

from

falling

to

the

floor. A l s o , the starting p o s i t i o n is a natural,

close-up cigarette p r o d u c t i o n . It uses the Sly-

restful, p o s i t i o n for the p e r f o r m e r t o a s s u m e .

dini Cigarette P a l m d e s c r i b e d in C h a p t e r S i x , b u t in general there are no difficult m o v e s . In

2. L o o k in front of y o u or slightly o f f to

a technical sense the routine is easy to master.

the right a n d focus y o u r eyes on an imaginary

T h e real practice c o m e s i n a c q u i r i n g graceful

o b j e c t . Y o u r e y e s light up as if this invisible

movements to achieve

object is exactly what y o u want. Y o u reach

true artistry in magic.

85

f o r i t , F i g u r e 6 3 2 , p l u c k i t o u t o f t h e air a n d l o o k a t it,

Figure

633.

9. The

Note in Figure 633

object

right

in

the

hand

deposits

the invisible

a i r . W h i l e still i n t h e p o s i t i o n

that a l t h o u g h the o b j e c t is invisible (in fact,

shown in

imaginary)

invisible object. T h e action is perfectly c a u g h t

you

you

must

convey the feeling that

do in fact hold a tangible

object in the

for another

in the e x p o s e d view in Figure 6 4 2 . J u s t as the

hand.

right h a n d p l u c k s an invisible c i g a r e t t e f r o m t h e air the left h a n d h a s p i c k e d u p o n e o f the

3. After s t u d y i n g the o b j e c t for a s e c o n d , shake your head, way

Figure 6 4 1 , it reaches

as

you

frown,

discard

and look

the object,

cigarettes e x a c t l y as s h o w n and holds it in a

the other

Figure 6 3 4 .

vertical

N o t e the l o o k of disgust or disappointment in Figure 6 3 4 , as if the object p l u c k e d from the

rette,

as if y o u believe in what y o u are doing.

and

Repeat

Steps

2

and

3

several

in

readiness

for

the

actual

1 0 . T h e right h a n d t a k e s its invisible ciga-

air i s n o t w h a t y o u e x p e c t e d . I t m u s t a p p e a r

4.

position

p r o d u c t i o n o f t h e first c i g a r e t t e . carries it to the left a r m , F i g u r e 6 4 3 , then

the right h a n d slides d o w n the arm

to the p o s i t i o n s h o w n in Figure 6 4 4 . N o t e in

more

t i m e s at different p o i n t s in the air. On the last

g o i n g f r o m F i g u r e 6 4 2 t o Figure 6 4 3 the left

t i m e , p l u c k t h e invisible o b j e c t f r o m the air,

h a n d raises up at the e l b o w to m e e t the right

Figure

hand,

635,

examine

it,

then

convey

by

a

smile a n d a n o d that y o u f o u n d the right o n e . 5. Display

it

in

the

6 3 5 , then place

it into

636.

right

Wave

the

right

hand,

over

the

the

left

h a n d itself remains b e l o w

the level o f the t a b l e t o p . When the r i g h t h a n d reaches

Figure

the

position

of

Figure

6 4 4 the left

h a n d p i v o t s at the wrist, arriving at the posi-

the left h a n d , F i g u r e

hand

but

tion s h o w n in the e x p o s e d view in Figure 6 4 5 .

object.

T h e n turn the left h a n d p a l m d o w n and w a v e

1 1 . W e will i n t e r r u p t t h e n a r r a t i v e a t this

the right h a n d over the b a c k o f the left h a n d ,

p o i n t to s h o w h o w the cigarette is transferred

Figure

637,

hand with

touching

the

6. Turn

left

from the position of Figure 6 4 5 to a Slydini

tip of the right m i d d l e finger.

p a l m position in the right hand. In Figure 6 4 5

the

left

the

back

o f the

hand palm up

the

and run

cigarette

is

finger.

between

the right

thumb

and

h a n d b a c k t o w a r d the b o d y , Figure 6 3 8 .

moves

directly up until the cigarette is clear

7. Turn

first

grasped

the right fingers over the left, p u l l i n g the right

T h e right h a n d n o w

o f the left h a n d . T h e r i g h t fingers n o w p r e s s

the left h a n d p a l m d o w n . C l o s e

the right h a n d i n t o a fist. T h e n p u s h the right

the lower end of the cigarette against the right

little finger i n t o the left fist, F i g u r e 6 3 9 , as if

p a l m as s h o w n in the e x p o s e d view in Figure

p u s h i n g the

646.

still-invisible

the left fist. N o t e i n

object

out

through

Figure 6 3 9 this i m p o r -

1 2 . T h e cigarette is thus held b e t w e e n the

tant point: Slydini's b o d y is turned slightly to

r i g h t t h u m b a n d the p a l m . H o w e v e r , this m o -

the left,

so

t h a t the a u d i e n c e c a n n o t s e e the

tion is a c c o m p l i s h e d as the right h a n d m o v e s

b a c k o f the left h a n d w h e r e the o b j e c t w o u l d

back

normally emerge.

hand. At the s a m e time the right hand opens

This conceals the fact that

y o u still h a v e n o t h i n g i n t h e l e f t h a n d . 8. The

right

as

hand n o w reaches over the

to

the

right

and

then t o w a r d the left

if throwing the cigarette

Figure

647.

at the left h a n d ,

Figure 6 4 8 is an audience view

left h a n d a n d t a k e s t h e i m a g i n a r y o b j e c t , F i g -

showing the right h a n d throwing the cigarette

ure 6 4 0 . Slydini looks at the right hand as the

at the left h a n d . T h e right fingers o p e n natu-

right

hand

rally,

body

swings

takes

the

imaginary

around to

object.

The

the right as the right

h a n d d e p o s i t s t h e invisible o b j e c t i n t o t h e air, Figure

641.

But

and

strained

the

right

hand

does

not

look

or c r a m p e d with the cigarette in the

Slydini palm position.

n o t e t h a t d u r i n g this s a m e

1 3 . T u r n t h e left h a n d p a l m u p a n d w a v e

m o v e m e n t the left h a n d naturally d r o p s t o the

t h e right h a n d a t the left a s s h o w n i n F i g u r e

l a p i n r e s t p o s i t i o n ( F i g u r e 6 4 1 a g a i n ) , w h i l e all

6 4 9 . To get from Figure 6 4 8 to that of Figure

attention is on the right hand. T h e coordina-

649,

tion is all-important: the left h a n d reaches the

does a wrist-turn to the p a l m - u p condition of

lap at e x a c t l y the s a m e time as the right h a n d

the

left

elbow

drops

as

the

left h a n d

Figure 6 4 9 . A l s o , the right h a n d , in waving at

reaches the position indicated in Figure 6 4 1 .

the 86

left,

moves

from

the

chest

where

it

is

loosely clenched, to point

the

right

shown in

the left h a n d ,

hand

Figure

opens

649.

to

at which

through

the position

The m o v e m e n t of the

right

hand

reaches

behind

finally p r o d u c i n g the cigarette

By repeating the s e q u e n c e as described in

right hand is slow and graceful throughout. 14. T h e

652,

as described in Steps 17 and 18 of Phase One.

the

left h a n d s o t h a t the b a c k s o f t h e h a n d s c o m e

Step

2 of Phase T w o , y o u prove to the audi-

ence

that

the

cigarette

hand.

This

6 5 0 . At the

cause

it

sets

up

s a m e t i m e t h e left h a n d o p e n s s o i t i s p a l m

phase

of

the

trick

same

actions

in

contact

toward

as

the

shown

in

audience.

Figure An

exposed

view

is

shown in Figure 6 5 1 . 15. The

right

is

really

is

psychologically the

audience

the

left

important

in

be-

for

the

next

in which y o u repeat the

but

without

a

cigarette

in

the

hand.

second,

third,

and

fourth

fingers curl i n w a r d slightly. At the s a m e t i m e the left h a n d

turns p a l m s d o w n over the ex-

t e n d e d r i g h t first f i n g e r , quence made

of Steps

Figure 6 5 2 . T h e se-

Phase

Three

13 and 14 looks as if you

a suspicious

move

or

switched some-

1. Y o u

have j u s t p r o d u c e d the

cigarette

thing. When y o u reach the position of Figure

for

6 5 2 , the right hand is again waved over the

cigarette into the left h a n d , actually retaining

left as s h o w n in F i g u r e 6 4 9 .

it

1 6 . N o w repeat the action o f Figures 6 4 8 through

6 5 2 , ending up

with

the

the in

second

the

time.

Slydini

Pretend

Palm

to

place

the

position in the right

hand.

right h a n d

2 . N o w the right h a n d m o v e s d o w n a w a y

a g a i n b e i n g w a v e d o v e r t h e c l o s e d left h a n d a s

f r o m the left h a n d , the b a c k o f the right h a n d

described in Step 13.

sliding along the t o p of the table exactly as

1 7 . T h e left fingers o p e n s o t h a t the left

shown in

Figure

6 5 9 . Without hesitation the

p a l m is again e x p o s e d to the audience. At the

right h a n d releases its p a l m e d c i g a r e t t e , allow-

s a m e time the right hand m o v e s to a position

i n g i t t o fall i n t o t h e l a p .

behind

the

left

hand.

The

right

first

finger

3 . T h e right h a n d continues m o v i n g b a c k

contacts the cigarette, so that the cigarette is

to the right to the p o s i t i o n of Figure 6 6 0 . T h e

h e l d b y t h e right t h u m b a n d first finger. T h e

motion

right fingers then curl under the cigarette and

smooth,

pivot it to a vertical p o s i t i o n , Figure 6 5 3 .

not hesitate when y o u unload the cigarette in

18. T h e right hand then m o v e s d o w n w a r d

Figure

to reveal the cigarette, F i g u r e 6 5 4 .

of

Figure 6 5 9 to Figure 6 6 0 is one

flowing continuous motion. Y o u do 659, and you

do not

focus attention

on the right h a n d in any way. All attention is o n t h e left h a n d , a s i l l u s t r a t e d i n F i g u r e 6 6 0 . 4 . T h e a u d i e n c e i s a b s o l u t e l y s u r e t h e cigarette

Phase

ence in

against

Figure

the

left

654, little

place

the

finger.

Curl

little

655.

Then

turn

the

left

hand

that

the

to

reinforce

cigarette

is

the in

audi-

the

left

o f the left h a n d , F i g u r e 6 6 2 .

finger a r o u n d the u p p e r e n d of the cigarette, Figure

flourishes

the left h a n d , F i g u r e 6 6 1 , t h e n over the b a c k

cigarette the

of

belief

hand. F o r e x a m p l e , the right h a n d waves over

1. H o l d i n g the left h a n d e x a c t l y as indicated

i s i n t h e left h a n d . Y o u n o w m a k e a

number

Two

5. Bring the hands to the position of Fig-

back

ure 6 6 3 , then o p e n the right h a n d to s h o w it

toward the audience, Figure 6 5 6 , and take the

empty,

cigarette

p a l m - u p condition, keeping the hands in con-

with

the

right

hand

as

shown

in

Figure 6 5 7 .

Figure

664.

Revolve both hands to a

tact with one another, so that they revolve to the position

2. T h e right hand pretends to deposit the

of Figure 6 6 5 . N o t e throughout

cigarette i n t o the left h a n d , F i g u r e 6 5 8 , really

all o f t h i s t h a t y o u a r e a p p a r e n t l y c o n c e a l i n g

retaining it in the Slydini Palm position.

the

3. The repeats

the

right

hand then moves away, and

actions

depicted in

Figure

cigarette

from

the

audience

by

tricky

sleights a n d maneuvers.

648

6. C l o s e the left h a n d i n t o a l o o s e fist a n d 87

revolve b o t h hands simultaneously to a palmdown condition

as

depicted in

Figure

left h a n d ,

663.

cigarette

Y o u are n o w going to o p e n the h a n d s b u t in

the into

left h a n d t h r o w s the a p p a r e n t the air, F i g u r e 6 6 9 . T h e ciga-

rette has vanished.

s u c h a w a y t h a t it will a p p e a r as if y o u are afraid t h e a u d i e n c e will s p o t t h e c i g a r e t t e in the

hand,

cigarette.

o r y o u will a c c i d e n t a l l y d r o p the T h e right h a n d remains in position

Phase

Six

b e h i n d the left as s h o w n in F i g u r e 6 6 3 . T h e l e f t h a n d i s slowly the

right

1. The

opened, Figure 666. Then

h a n d slowly

opens,

production

now commences.

Figure 6 6 7 , the

of the next cigarette

F r o m Figure 6 6 9 the b o d y

right t h u m b a l w a y s r e m a i n i n g in c o n t a c t with

swings

the b a c k of the left h a n d as if it h e l d a h i d d e n

its p a l m e d c i g a r e t t e f r o m t h e air. I n the s a m e

cigarette in place.

m o v e m e n t the left h a n d d r o p s t o the l a p a n d

7.

T h e entire

t o the right. T h e right h a n d p r o d u c e s

takes the second cigarette, Figure 6 7 0 . Coor-

thrust of this p h a s e of the

handling is to show, but in an ambiguous way,

dination

that

m o u n t importance. T h e b o d y and hands start

the

cigarette

has

vanished.

Clearly

the

of the

body

and hands is of para-

and stop together.

hands are e m p t y , and j u s t as clearly the handl i n g i s s o c l e a n t h e c i g a r e t t e must h a v e v a n -

2 . T h e right h a n d m o v e s t o the left a r m ,

i s h e d . Still . . . t h e r e is t h a t l i n g e r i n g d o u b t on

at the s a m e t i m e p a l m i n g the cigarette. T h e

the

position

audience's

part;

the

cigarette

could

be

of the right h a n d after the c o m p l e -

c o n c e a l e d b e h i n d the left h a n d b y m e a n s o f

tion of the p a l m , j u s t as the right h a n d reach-

clever skill. In the n e x t p h a s e y o u are g o i n g to

e s the left a r m i s s h o w n i n F i g u r e 6 7 1 .

p r o v e that the cigarette in fact is in the h a n d ,

3. T h e

s o t h e a u d i e n c e i s still further t h r o w n o f f a n d

right

hand

slides

down

the

left

a r m , over the left h a n d a n d grasps the right

does not k n o w what to think.

end

o f t h e c i g a r e t t e p a l m e d i n the left h a n d .

The

left

hand,

in a continuing action, pulls

this cigarette i n t o view, F i g u r e 6 7 2 . 4. T h e cigarette is displayed as shown in Phase

Four

Figure 6 7 3 . showing

1. Pretend

to secretly take

the cigarette

Figure

6 7 4 is an e x p o s e d view

the actual condition of the p a l m e d

cigarette at this p o i n t . T h e left h a n d t a k e s the

with the right h a n d . T h i s is d o n e by the right

cigarette

h a n d curling b e h i n d the left h a n d a s s h o w n i n

6 7 5 . A s t h e b o d y s w i n g s t o t h e l e f t a n d all

Figure 6 6 6 (the right t h u m b always maintain-

a t t e n t i o n is f o c u s e d on the left h a n d , the right

ing contact with the b a c k

hand naturally drops to the edge of the table,

o f t h e left h a n d ) .

N o w t h e left h a n d m o v e s q u i c k l y b a c k t o w a r d

and displays it as shown in Figure

Figure 6 7 5 .

the right p a l m as if furtively stealing the ciga-

5. N o w l o o k slightly to the left as if y o u

rette f r o m the right h a n d . T h e left h a n d curls

s p o t t e d a n o t h e r c i g a r e t t e i n the air. T h e right

i n t o a fist a n d m o v e s to t h e left to a p a l m -

h a n d points to the s p o t , Figure 6 7 6 , m o v e s a

down condition.

few inches

2 . T h e right fourth finger p o k e s into the

forward and p r o d u c e s the s e c o n d

cigarette, Figure 6 7 7 .

left fist, F i g u r e 6 6 8 , a n d p r e t e n d s t o t a k e the cigarette as in Figure 6 4 0 . 3. N o w repeat the action depicted in Figures 6 4 1 through 6 5 4 .

Phase 1.

Phase

Five

The

right

Seven

h a n d n o w b a c k s up to the

p o s i t i o n s h o w n i n F i g u r e 6 7 8 . T h e left h a n d shifts its c i g a r e t t e to a p o s i t i o n b e t w e e n the

1. R e p e a t Phase T w o , Steps 1 and 2.

left first a n d s e c o n d fingers, F i g u r e 6 7 8 . T h i s

2. A f t e r the right h a n d is w a v e d over the

frees 88

the

left

hand to pick up the cigarette

package, as also shown in Figure 6 7 8 .

shown in

2. T h e cigarette p a c k a g e is j u s t a b o v e the edge

Figure 6 8 5 .

In a continuing action

t h e left h a n d d i s p l a y s its c i g a r e t t e a s s h o w n i n

o f the table. T h e right h a n d n o w p l a c e s

Figure 6 8 6 . T h e p s y c h o l o g y here is that in an

its cigarette i n t o the p a c k a g e as i n d i c a t e d in

o f f h a n d w a y y o u are s i m p l y a d j u s t i n g the left

Figure

hand

its

6 7 9 . T h e right h a n d d o e s n o t release

grip

on its c i g a r e t t e . I n s t e a d it slides its

cigarette

d o w n into

the p a c k a g e to the posi-

2.

tion of Figure 6 8 0 . T h e cigarette slides d o w n into the p a c k a g e until tacts

the

cigarette

the right t h u m b

package

with

an

cigarette;

the

implication

is

that

the

right hand must be empty. N o t e in Figure 6 8 6 that the right hand

rests naturally at the edge of the table.

con-

audible

rap, as shown in the e x p o s e d view in Figure 681.

Phase

3. N o w two ly.

As

soon

actions

as

the

Nine

occur simultaneous-

right h a n d

reaches

the

You

position of Figure 6 8 1 , it moves up, secretly p u l l i n g the cigarette with it,

Phases

Six, Seven, and

6 8 2 . At

as the p r o d u c t i o n of a seemingly endless num-

the s a m e t i m e the left h a n d t o s s e s the ciga-

ber of cigarettes c o m m e n c e s . T h e cigarette is

rette p a c k a g e d o w n o n t o the table. T h e idea

always

you

want to convey here is that a cigarette

shown in Figures 6 7 6 and 6 7 7 . If y o u wish to

was

produced,

cigarette

p r o d u c e a cigarette

onto

the

h a n d m o v e s t o the right w i t h its p a l m e d ciga-

T h e o n l y w a y t o g e t the right feel a n d

rette, b a c k o f the right h a n d t o the a u d i e n c e ,

package, table.

and

dropped the

Figure

now repeat

Eight, varying the action s o m e w h a t each time

into

package

the

tossed

produced

from

the

from

right

hand,

as

the right, the right

timing for this a c t i o n is to h o n e s t l y place a

a n d t h e c i g a r e t t e i s p l u c k e d f r o m t h e air. A s

cigarette in the p a c k a n d toss the p a c k onto

the

t h e t a b l e . R e p e a t this a c t i o n l e g i t i m a t e l y sev-

placed

into

point

where

eral

times until the t i m i n g a n d natural r h y t h m

cigarettes

are

the

produced

package,

the

and

you

package

apparently

will reach is

a

apparently

of the a c t i o n is familiar. T h e n strive to emu-

j a m m e d full o f c i g a r e t t e s . T o m a k e r o o m f o r

late

m o r e , i n v e r t t h e p a c k a g e a n d d u m p o u t five

this

action w h e n p e r f o r m i n g the steal of

Figure 6 8 2 . The idea of both hands moving is to half

split t h e m o v e s o b o t h h a n d s m o v e the

distance

one

hand

o r six c i g a r e t t e s . T h e n g o o n t o p r o d u c e sev-

only

would have

eral m o r e c i g a r e t t e s f r o m t h e air. Prior t o the

to

production

move.

of each cigarette m a k e sure y o u

l o o k at a p a r t i c u l a r s p o t in the air; o n l y then do y o u p r o d u c e the cigarette.

4. T h e position of the cigarette p a l m e d in t h e right

hand when

the cigarette p a c k a g e is

tossed o n t o the table is s h o w n in the e x p o s e d view in Figure 6 8 3 . Y o u could immediately produce

the

cigarette

palmed

in

the

Phase

Ten

right

h a n d at this p o i n t b u t it w o u l d be p s y c h o l o g i -

After p r o d u c i n g several cigarettes, finally

cally wrong. Slydini delays the production as

p l a c e the last o n e from the right h a n d honest-

follows.

ly into the p a c k a g e . As y o u place the second o n e in, m a k e a s u s p i c i o u s gesture as if stealing it out. T h e n repeat the gestures of Figure 6 5 8 through Phase

6 6 9 . T h e n y o u are in a p o s i t i o n to

repeat the production of Phase One and T w o

Eight

all o v e r a g a i n . Y o u c a n t h u s r e p e a t t h e c i g a 1.

rette production as long as y o u desire.

I m m e d i a t e l y after the steal of S t e p 3

in P h a s e S e v e n , the left h a n d curls its fingers inward. T h e right e n d of the cigarette is t a k e n Phase

by the right fingertips as s h o w n in F i g u r e 6 8 4 . As the right h a n d h o l d s the cigarette, the left

1.

h a n d re-grips its e n d of the visible cigarette as

Eleven

When y o u ' r e ready to e n d the routine,

y o u are in the p o s i t i o n of Figure 6 8 7 . There 89

are

t w o cigarettes

in

the

lap

at

this

point.

hands

move

Gesture as if to say, "That's all," as shown in

and

Figure 6 8 7 .

Figure 6 9 7 .

apart,

display

the

each holding a cigarette,

two

cigarettes

as

shown in

2 . T o c o m p l e t e the gesture the right h a n d d r o p s t o the table a n d the left h a n d m o v e s t o the rest p o s i t i o n in the l a p , Figure 6 8 8 . T h e left h a n d g r a s p s o n e o f the l a p p e d c i g a r e t t e s . 3. Say, you

do,

Phase

"I never b u y cigarettes," and as

emphasize

this

Twelve

b y raising the right 1. D i s p l a y

h a n d a n d t h e n d r o p p i n g i t t o t h e edge o f t h e then

table.

drop

the

the

cigarettes

for

a

second,

left h a n d to the e d g e of the

table as shown in Figure 6 9 8 .

4 . T h e left h a n d t h e n l o a d s its c i g a r e t t e into the right h a n d as s h o w n in Figures 6 8 9

2.

" O f course, if they d o n ' t w a n t a ciga-

and 6 9 0 using the Imp Pass. " A n y t i m e I want

rette,

a c i g a r e t t e I r e a c h i n t o t h e air a n d t a k e o n e . "

the

T h e right h a n d reaches to the right, b a c k of

" b a c k , " then d r o p the right h a n d to the e d g e

the h a n d to the audience, and produces the

of the table as shown in Figure 7 0 0 as y o u

palmed cigarette by

turning the h a n d at the

wrist to the position of Figure 6 9 1

position

say,

a n d dis-

of

". . . a g a i n . "

o n e back a g a i n . " Y o u r e a c h Figure

An

699

on

exposed

the

view

word

at

this

p o i n t is s h o w n in Figure 7 0 1 . T h e right h a n d

playing the cigarette, Figure 6 7 0 . 5. N o t e in

I p u t this

reaches the e d g e of the table j u s t as y o u say

F i g u r e 6 7 0 t h a t t h e left h a n d

the w o r d " a g a i n " in the sentence, "I put this

is in the lap, where it p a l m s another cigarette.

o n e b a c k a g a i n . " A t the s a m e t i m e the right

T h e right h a n d then swings t o the left t o t h e

h a n d r e l e a s e s its c i g a r e t t e , a l l o w i n g i t t o fall

position of Figure

into the lap.

6 4 3 , then slides d o w n t o

the position of Figure 6 7 2 . 6. T h e

right

hand

grasps

3 . T h e right h a n d i s n o w r a i s e d w i t h its the

apparent cigarette as y o u say, " L o o k , " Figure

cigarette

702.

p a l m e d in the left h a n d a n d b r i n g s it to the fingertips,

Figure

4 . T h e right h a n d n o w rests its a p p a r e n t

6 9 2 . T h e cigarette is then

held m o m e n t a r i l y in the left h a n d as in Figure

cigarette

693.

F i g u r e 7 0 3 . T h e left h a n d p u s h e s its c i g a r e t t e

on

top

of the

left

hand cigarette,

upward, Figure 704.

7. " B u t if s o m e o n e a s k e d me for a cigarette, here's w h a t I w o u l d d o . " T h e right h a n d

5. The

cigarette

is

g r a s p e d by the right

n o w a p p r o a c h e s the left, F i g u r e 6 9 4 , l o a d s its

hand,

cigarette alongside the left h a n d cigarette as

a n d p u s h the cigarette u p with the left t h u m b

s h o w n in the e x p o s e d view in Figure 6 9 5 (and

to the position shown in Figure 7 0 5 .

the audience view in Figure 6 9 6 ) , twists the

a l l o w i n g t h e left h a n d t o shift its grip

6. The

left h a n d then t a k e s the c i g a r e t t e

cigarettes, and pretends to break the cigarette

o u t of the right h a n d as s h o w n in Figure 7 0 6 .

in half.

A l l o w the

8. S a y , "I b r e a k the cigarette in half a n d

cigarette

to

drop

out of the h a n d

and onto the table as y o u say, " T h a t ' s all,"

give t h e m e a c h a p i e c e . " A t the s a m e t i m e the

Figure 7 0 7 a n d the routine is over.

90

13

New Card Moves H E card m o v e s a n d routines i n this chapter

have

never I

appeared

do

not

know

1. H o l d the d e c k in the left h a n d dealing

in

position.

the

Spades,

print

before.

dates

as to w h e n t h e y w e r e invent-

Remove with

the

the

top

right

card,

hand

the A c e o f

a n d d i s p l a y it,

Figure 708.

ed by Slydini, b u t I do k n o w that one of the

2. T h e

left

thumb opens

a break in

the

moves, the " F l a t Tabled P a l m , " was shown to

d e c k a b o u t five t o s e v e n c a r d s f r o m t h e t o p ,

me in the early 1 9 6 0 ' s a n d has b e e n a m o v e I

Figure 709.

have u s e d often ever since. The

"Drop

ting of an

deck

is

lowered

to

a horizontal

position, Figure 7 1 0 , a n d the A c e of S p a d e s is

ambitious card routine, but it can

inserted into the break as shown. T h e A c e is

be seen that the m o v e is bility

3. T h e

S t e a l " is d e s c r i b e d in the set-

and utility.

one

of great flexi-

inserted

for

about

two-thirds

its

length.

As

F o r e x a m p l e , y o u can pre-

the A c e o f S p a d e s i s i n s e r t e d , the left h a n d

s e n t a b r i e f a m b i t i o u s c a r d t r i c k w i t h a n indif-

m o v e s t o w a r d the center of the table, b a c k of

ferent

the h a n d in c o n t a c t with the table as s h o w n in

card,

and

by

the

use

of

the

"Drop

S t e a l " indetectably lap the four A c e s . This in turn

sets y o u

deck

is

up

Figure 710.

for a later trick where the

shuffled

by

4. The

the spectator, the A c e s

protruding

front

e d g e o f the A c e

o f S p a d e s i s g r a s p e d b e t w e e n t h u m b a n d first

l o a d e d b a c k onto the deck, and y o u p r o c e e d

finger. A t the s a m e t i m e the left h a n d swivels

with y o u r favorite four-Ace p r o d u c t i o n .

at the wrist so the d e c k is face-up a n d y o u are

" C a r d M a t e s " is a c o i n c i d e n c e trick with a subtle

displaying the A c e of S p a d e s , Figure 7 1 1 . At

repeat that m a k e s the trick even m o r e

mystifying.

t h i s t i m e , s a y , " L o o k . " T h e h a n d s m o v e fur-

in so m a n y Slydini routines,

ther t o w a r d the center of the table. S a y , " I ' m

h i d d e n in this trick is an e x c e l l e n t m o v e that

g o i n g t o d o this very s l o w l y s o y o u can see

can be extracted and used in numerous other

everything."

tricks.

As

per-

5 . W i t h t h e h a n d s still a t t h e c e n t e r o f t h e

f o r m e d v i a the I m p P a s s i n t h e first m e t h o d

t a b l e , the left h a n d p i v o t s at the wrist so the

a n d the

deck is face d o w n again, Figure 7 1 2 . T h e right

od.

The

move

is

the

card

switch,

Flat T a b l e d Palm in the s e c o n d meth-

Either way

context

of

beautifully

a

the trick

switch is perfect. like

integrated

"Card

into

the

In the

Mates"

h a n d pulls the t o p s t o c k (the cards a b o v e the

it is

handling

Ace

as

of Spades)

indeed

seen by the audience.

several

b a c k to s h o w that there are cards

on

top

of the

Ace

of

Spades, Figure 713. 6. As

the right h a n d spreads the t o p few

cards in Step 5, the hands m o v e slowly back D r o p Steal

to a position a l m o s t at the edge of the table. S e e F i g u r e 7 1 3 for this. T h e m o v e m e n t o f the

This m o v e allows y o u to steal the top few cards near

of the the

placed

top.

The

end

context

of

a

It

of the right h a n d .

result is that a card

near the t o p j u m p s to the

in-detectable manner. the

left h a n d i s natural a n d c o v e r e d b y the a c t i o n

deck while inserting another card

is

described

miniature

7. The

top in an here

ambitious

right

hand

now

squares

up

the

cards above the A c e of S p a d e s , squaring them

in

card

routine; the A c e of S p a d e s is placed a b o u t ten

flush with

the

the

remain

hands

d e c k itself. at

the

At the s a m e time edge

of the table,

Figure 714.

cards d o w n f r o m the t o p . Instantly it rises to

8. The

the t o p of the deck.

right

forefinger contacts

the pro-

t r u d i n g A c e o f S p a d e s again, b u t this t i m e the 91

the p a c k e t a b o v e the A c e of

1. T h e t e c h n i q u e d e s c r i b e d here is for the

S p a d e s as s h o w n in Figure 7 1 5 , at the u p p e r

specific case where y o u w a n t to p a l m a single

thumb contacts

card

edge of the packet. 9 . T h e left h a n d tips

the

722.

Figure 7 1 6 , to display the A c e of S p a d e s as shown in

from the t o p of the deck. Deal out t w o

h a n d s o f five c a r d s e a c h a s s h o w n i n F i g u r e

deck up again,

2. D e a l the c a r d s naturally until each per-

Figure 7 1 7 . T h e right t h u m b snaps

b a c k , propelling the p a c k e t above the A c e of

son

has

Spades

you

are finished with the deal, do n o t adjust

off the

deck

lapping action but

is

note that

a n d into the lap. This

being done in Figure

the hands

completely

the

717,

thumb

and

the

deck

middle

deck

conceal

the

above,

right

the

the cards

right

is

hand grasps the deck 723.

needed

No

here

deck,

Figure

724,

and places

719. The Ace of

u p p e r left corner of the

face

down

on

say,

"Up!"

is

flat,

t h u m b is

the

it on the

the

on top

middle

finger deck,

touches

the

a n d the right

of the d e c k b u t at the rear

edge as shown in Figure 7 2 6 .

table. Gesture with the hands, Figure 7 2 0 , as you

the

4. T h e grip of the right h a n d on the d e c k hand

deck

from

of

is s h o w n in the detail in F i g u r e 7 2 6 . T h e right

et of cards at the t o p of the deck. the

adjustment

either. T h e right h a n d

Spades is presumed to be buried under a pack12. Drop

(the usual

table to the left, F i g u r e 7 2 5 .

deck. L o w e r the hands so the Figure

up

s i m p l y grasps the d e c k . T h e right h a n d takes

Figure

1 1 . N o w slowly square the A c e o f S p a d e s deck is horizontal,

square

for s t a n d a r d m e t h o d s o f p a l m i n g ) .

Figure

cards

finger p r e t e n d t o s q u a r e

718. the

or

3. The vertical,

the p a c k e t a b o v e the A c e of S p a d e s ,

flush with

five-card draw p o k e r hand. When

procedure

the steal of the t o p b l o c k . 1 0 . With

a

5. T h e

T h e n dramatically turn the

right

hand

i s flat a n d s o m e w h a t

top card face u p , Figure 7 2 1 , to s h o w the A c e

tensed as it slaps the deck o n t o the table. T h e

of

right

hand

T h e trick can be d o n e with the four A c e s or

away

f r o m the d e c k . A single c a r d will c o m e

any other appropriate cards.

w i t h it; F i g u r e 7 2 7 s h o w s t h e right h a n d m o v -

S p a d e s has risen to the t o p of the d e c k .

ing away

then

relaxes

from

as it moves up and

the tabled deck.

Figure

728

shows an e x p o s e d view of the c o p p e d card. Flat Tabled Palm

6. The

T h e o b j e c t of this m o v e is to a d d o n e or more

cards

to

a group

of cards.

I t will b e

back

and

dealt

to

right drops

the

hand on

top

dealer,

the right h a n d s c o o p s table and into

y o u r h a n d a n d in the p r o c e s s a d d one card to

730 and 7 3 1 .

your hand.

NOTE:

There is no palming action of any kind in motion from

of

the

action

method, the

deck

onto

the

absolutely

fingers to and

the

there

telegraph the steal subsequent

hand

the p o k e r h a n d o f f the

the w a i t i n g left h a n d , F i g u r e s

T h e m o s t difficult point t o con-

v e y in a written d e s c r i p t i o n of this sort is t h a t

no telltable loading

magician's poker hand.

poker

7 2 9 , adding the

p a l m e d card to the top of the p o k e r hand as

in which y o u deal cards to two players, gather

Slydini

immediately

of the

Figure

described here in the c o n t e x t of a p o k e r deal

this

moves

Re-

is

no

finger

movement

or

required to p a l m the t o p card of

the

The

deck.

squared

m e m b e r that although this m o v e is described

absolutely

adjustment

up,

deck

need

not

the

right

fingers

and

be

perfectly make

no

m o t i o n to tighten up and deliberately " t a k e "

in the c o n t e x t of a p o k e r deal, it is actually a

the top card.

I t i s all a q u e s t i o n o f t h e r i g h t

move

hand

as it tables

used,

of

great

versatility,

one

that

can

be

for e x a m p l e , as an add-on for standard

tensing

relaxing

as

it

four-ace tricks, gaffed card tricks, etc. Slydini

pack.

The

created

right

middle

this m o v e t o get a w a y f r o m s t a n d a r d

approaches. completely

In

the

process

convincing

he

developed

a

fingers

m o v e that is indetect-

act

the

deck and then

m o v e s up and away from the

card is finger

only

to

retained in place by and screen

thumb. the

The

copped

the

other card

from the spectator's view.

able.

R e m e m b e r to sit a q u a r t e r t u r n to t h e left 92

when

in Figure 7 2 2 . This

" T h i s is one card, only o n e . " S n a p the card

m a k e s it easier a n d m o r e natural for the right

dealing the

cards

with the right s e c o n d finger, F i g u r e 7 3 6 . T h e n

h a n d t o s w i n g t o t h e far l e f t i n F i g u r e s 7 2 5

place

a n d 7 2 6 to table the deck.

table.

Also, note in Figure 727 that the b a c k of

the

4.

the right h a n d is t o w a r d the a u d i e n c e as the

T w o o f S p a d e s face d o w n o n the

" N o w I want y o u to push one card out

of the s p r e a d . " Gesture t o w a r d the spread a n d

right h a n d m o v e s a w a y f r o m the d e c k t o the

show

dealer's poker hand.

p u s h a single card out t o w a r d y o u . T h e n a d d ,

the

"Don't

spectator

do

how

you

want

him

to

anything yet. Would y o u believe

that any card y o u p u s h out of the deck w o u l d h a v e t o m a t c h this o n e ? " 5. Continue:

Card Mates

" T h e card will b e the s a m e

value a n d the s a m e c o l o r . " R e s t the hands at The

effect

removes

is

a card

exactly from

this:

the edge

the magician

a borrowed

the

deck and

of the table. Then point to one of

cards,

places it face d o w n on the table. A s p e c t a t o r

cards are

pushes any card

spread

out

of the

d e c k . When this

saying,

"You'll

s p r e a d at

slightly

notice

that s o m e

a slight angle, s o m e are

more

than

others.

You may

card is c o m p a r e d with the p e r f o r m e r ' s card, it

think I want to influence y o u to c h o o s e these

is

c a r d s . A b s o l u t e l y n o t . I w a n t y o u t o feel free

f o u n d that the t w o cards are m a t e s of o n e

another.

to pick any card, any card at all."

This is a c o m p l e t e l y baffling effect,

the best and m o s t direct coincidence effect in

6. Repeat, " A n y card y o u push out must

the current state of the art.

match

1. F a n the cards as shown in Figure 7 3 2 , explaining to for

the

audience

a particular card.

between edge

the

hands,

then

Still holding the cards the

hands

to

you

of the table. A l l o w one card to secretly this drops

table,

and laps a card from the center of the

deck.

We

Clubs.

secret

action; he

the

will

(You

hands

say can

the

to

gestures the

edge

card is

have

the

the

Two

as

Two

dividing the

move

in

the left h a n d with

half by

first

the card to be

secretly taken.

he

7. Say, " G o ahead." The hands gesture as

of the

of

are

setting up

fall i n t o t h e l a p . S l y d i n i u s e s T i m i n g t o b r i n g talks,

d r o p b a c k t o the t a b l e . T h e g e s t u r e fol-

l o w s the c o r r e c t p h i l o s o p h y for the I m p P a s s ;

the

about

o n e . " When y o u say, " A n y . . ."

the h a n d s gesture as s h o w n in Figure 7 3 7 , a n d

that y o u looking

drop

this

shown

in

Figure

738.

Y o u are s h o w i n g the

hands e m p t y and at the s a m e time setting up

of

for the I m p P a s s . T h e left h a n d d r o p s to a rest

Clubs

position in the lap and immediately picks up

l a p p e d before y o u start, in order to eliminate

the

the lapping.)

straight d o w n to the t a b l e t o p , a b o u t six inch-

2. Continue until y o u

find

running

through

the

Two

of

Clubs.

The

right

hand

drops

es from the edge of the table. This takes place

cards

while

the m a t e o f this c a r d , i n o u r

the

s p e c t a t o r pushes a card out of the

spread.

e x a m p l e the T w o o f S p a d e s . B r e a k the deck a t this p o i n t , F i g u r e 7 3 3 , a n d p l a c e t h e T w o

8. Now

say,

"Take your time." As you

of S p a d e s f a c e d o w n on the table, Figure 7 3 4 .

do so,

A

hand then d r o p s b a c k to the edge of the table,

note

on

presentation:

as

Slydini

looks

gesture with the right h a n d . T h e right

through the d e c k he l o o k s at the s p e c t a t o r for

Figure

a m o m e n t as if getting a t h o u g h t i m p r e s s i o n .

T w o of C l u b s into the right h a n d as s h o w n in

T h e n , a s i f h e g o t i t , h e s a y s , " O h , all r i g h t .

the e x p o s e d view in Figure 7 4 0 .

739,

and you

immediately

feed

the

I'm going t o put one card here. . . . " H e places

9. T h e s p e c t a t o r p u s h e s a card o u t of the

the T w o of S p a d e s on the table with the right

deck and slides it face d o w n to a position in

h a n d . T h e d e c k i s a s s e m b l e d . T h e left h a n d ,

front

holding the deck, c o m e s to rest on the table.

y o u emphasized that he was to push a card

3. T h e d e c k is s p r e a d f r o m left to right,

out

Figure 7 3 5 . Pick u p the T w o o f S p a d e s , keep its

face

away

from

the

audience

and

of y o u . He d o e s this b e c a u s e in S t e p 4 of the

s p r e a d toward you.

10. Say, " T a k e any card at all." As y o u

say,

say, ". . . any . . . " the hands gesture and it is 93

the c a r d in the right

is the Eight of Hearts. Y o u w o u l d r e m o v e the

hand is brought to Slydini Palm position, Fig-

Eight of D i a m o n d s and place it face d o w n on

ure

the table.

during

this

gesture

that

7 4 1 . T h e h a n d s then d r o p b a c k to a rest 7 4 2 is an ex-

2 . S a y , " Y o u ' r e a l i t t l e c o n f u s e d s o I'll d o

p o s e d view o f the p a l m a t this point. F i g u r e

the trick a g a i n , " as y o u run through the cards.

7 4 3 is a view f r o m the front.

After

position

on

the

11. The top

of

Figure

right h a n d n o w

the

744 and

table.

spectator's

745

as

you

drops

chosen draw

down

card,

placing

the

Eight

of

Diamonds

face

d o w n o n the table, s p r e a d the d e c k face d o w n

on

o n the table. S a y , " R e m e m b e r , y o u can pick

Figures

any card y o u desire."

his c a r d o f f the

3. S n a p the face-down Eight of D i a m o n d s

table toward y o u , Figures 7 4 6 and 7 4 7 . 1 2 . As the right h a n d clears the edge of

and replace it face d o w n on the table. E m p h a -

the table the spectator's card is l a p p e d , Figure

size that the s p e c t a t o r c a n p u s h any card o u t

748.

of the spread.

Without

hesitation

the

right h a n d lifts

4. T h e s p e c t a t o r pushes a card out of the

o f f the table as if it held the s p e c t a t o r ' s card, Figure

749,

Clubs

and

drops

the

palmed Two

o n t o p o f the m a g i c i a n ' s card,

spread

of

toward

follows:

Figure

you.

Square

up

the

deck

as

the left h a n d slips u n d e r t h e left e n d

o f the s p r e a d a n d g a t h e r s the c a r d s f r o m left

750. 13. The

right

hand

then

scoops

to right. T h e right h a n d d r o p s to the t o p card

both

c a r d s o f f the t a b l e i n t o the w a i t i n g left h a n d .

of the

T h e left h a n d i s a l r e a d y p a l m u p a n d s h o w n

s t e a d y the d e c k a s the left h a n d c l o s e s u p the

obviously

deck.

empty.

The

left

fingers

slide

the

deck

and

simply

rests there as if to

b o t t o m c a r d of the pair to the left a n d turns

5. As this is b e i n g d o n e , s a y , " S e e , this

it face up, Figure 7 5 1 , revealing it is the T w o

time y o u t o o k the wrong o n e . " T h e deck is

of Spades.

squared, the

14. S q u a r e up the cards face-to-face. To

the right h a n d remaining on t o p of

pack

in

position

for

the

Slydini

Flat

k e e p the audience in suspense, Slydini delays

Tabled Palm. S a y , "I can't understand why."

the conclusion by s n a p p i n g the cards, Figure

As

752,

takes the deck from above, Figure

then

pretending to l o o k at the specta-

you

say,

". . . w h y , . . ."

the

right h a n d 756, and

tor's card, Figure 7 5 3 . He says, " N o , n o , " as

swings it out of the w a y by placing it off to

if he m a d e a m i s t a k e , then his face lights up

the

a n d h e s a y s , " O h , y e s , i t ' s all r i g h t . " S l i d e t h e

m a t i c a l l y brings the right h a n d to the correct

bottom

position

card

to the left with the left fingers,

left,

Figure to

757.

steal

This

the

top

movement card

auto-

of the

deck

without flashing the steal.

Figure 7 5 4 . T h e n turn the other card face up

6. N o t e

to show a perfect match, Figure 7 5 5 .

in

Figure

757

that

the deck is

p l a c e d to the left of the l e f t m o s t t a b l e d card. A s the right h a n d c o m e s a w a y f r o m the d e c k , it Card Mates—The Repeat

steals

the

technique

top card, Figure 7 5 8 using the

of

the

Slydini

Flat

Tabled

Palm

d e s c r i b e d earlier in this c h a p t e r . This

method

does

not

require

the

Imp

7. L o o k directly at the

Pass. Rather, a simple lapping m o v e is used to

the

switch

question

one

card

for a n o t h e r .

It is a natural

steal

as

you

o f it.

say,

You

definitely

f o l l o w - u p t o t h e first m e t h o d b e c a u s e a c o m -

t a k e . " T h e right h a n d m o v e s

pletely

tabled

different

technique

is

used

to bring

about the s a m e effect. 1. run

it,

faces

taking the

made

a mis-

away from the

stolen

c a r d as indi-

cated in Figure 759 and loading it on top of

To begin, take the shuffled deck and

through

deck,

spectator during

" T h i s time there's no

the spectator's card.

toward you, and look

8. The

right

hand

drags

the

spectator's

over the faces of the cards. Secretly note the

c a r d o f f t h e t a b l e , a n d a l l o w s i t t o fall i n t o

top

the l a p , F i g u r e s 7 6 0 a n d 7 6 1 . S a y , " H e r e , let

card

of that

of the deck. Then remove the m a t e card and place it face d o w n

on the

me s e e . " The

t a b l e o f f t o t h e left. W e will s a y the t o p c a r d

and 94

drops

the

right h a n d rises f r o m the t a b l e palmed

card

on

top

of the

other tabled card. T h e p r o c e s s from this point

s o m e t h i n g is w r o n g , s a y s , " N o . . ." then his

o n t o t h e final r e v e l a t i o n o f t h e p e r f e c t m a t c h

face

is

obviously pleased with the o u t c o m e , a n d toss-

as

Slydini

already

outlined

in

the

first

method.

es

looks at the two cards, frowns as if

brightens,

the

perfect

95

two

he

cards

match.

says, out

"Yup,

face

up

yup, to

yup,"

show

the

14

Paper Balls in the Box H I S r o u t i n e is c o m p l e t e l y the origi-

inches wide, and about four inches deep. T h e

nation of S l y d i n i . When the original

b o x is open top and b o t t o m . A g o o d view of

method

the cardboard b o x is shown in Figure 7 6 2 .

and

handling

appeared

in

p r i n t i n The Sphinx i n 1 9 4 8 i t w a s granted the

Sphinx Award

You

for the b e s t trick

should

use

accompaniment

taped

o r live m u s i c a s

to the routine as the general

of that year. In the decades since, Slydini has

rhythm of the effect is otherwise lost. Slydini

changed

In its

recommends

present form it is an exhibition of outstanding

the r h y t h m .

magic

and

streamlined

c o m b i n e d with

the

routine.

a brilliant m e t h o d a n d

Strauss.

L e t the m u s i c

dictate

A t the s t a r t o f the r o u t i n e t h e n a p k i n s lie

handling.

flat o n the t a b l e t o y o u r right. T h e c a r d b o a r d b o x is a l s o on the t a b l e , a bit to y o u r left.

The elements of Misdirection and Timing are b r o u g h t

t o g e t h e r in this routine,

welded

1. Pick up the open b o x and display it as

into a handling that exploits these concepts to

in

their full p o t e n t i a l . A s t h e a u d i e n c e s e e s t h e

bottom

effect,

shown in Figure 7 6 3 , saying, "There can't be

four

paper

balls

are

individually

Figure

762,

saying,

and no

" A n empty box, no

top."

Fold

the

box

flat a s

s h o w n . T h e y vanish o n e at a time and—incred-

a n y t h i n g i n s i d e . " Place the b o x o n the table

ibly, it s e e m s — a p p e a r in a s i m p l e c a r d b o a r d

in an o p e n c o n d i t i o n , to the left, as s h o w n in

b o x t h a t h a s b e e n i n full v i e w f r o m t h e b e -

Figure 764.

ginning of the routine.

2. Pick up each paper napkin and display as shown in Figure 764. Each napkin is peeled

T h e grace and mystery of the effect conceal a m e t h o d that uses p s y c h o l o g y a n d mis-

off a n d s h o w n separately, then p l a c e d on the

direction

table.

The

of

the

mind

throw-offs,

asides,

the

hands,

all

in a fascinating w a y .

the

casual these

seemingly

showing

of

apparently

incidental the

3. Say, " N o w I'm going to explain to y o u

empty

accidental

everything

ele-

I

I'm doing. I'm going to take those paper nap-

ments a d d to the truly m e s m e r i z i n g effect of

kins

one by

four balls

drop

them

basic

vanishing into

effect

of the

thin air. S i n c e t h e

vanish

is

repeated

with

to

opportunity

believe

point.

Yet

catch

each

the

vanish

method

is more

at

some

mystifying

that the harder

balls

comes

as

inside

the

plain

a s t r o n g finish

they l o o k ,

cardboard

to

an

them me,

then

invisible.

roll

each into a ball, and

the b o x . "

go

into

you'll

their So

planation,

t h e less t h e y s e e . T h e final r e v e l a t i o n o f all four

see

until

t h a n t h e l a s t a n d t h e a u d i e n c e will b e q u i t e willing to believe

one, inside

Pause

for

dra-

matic effect, then add, " B u t y o u ' r e not going

each of the four balls, the audience has every to

do, so you know exactly what

the

see

flight

watch

box.

them into

me

At

the

end,

all i n s i d e , b u t

the

b o x will b e

carefully." This ex-

d o n e before t h e e f f e c t c o m m e n c e s ,

heightens audience attention.

box

4. Push

exceptional

the

"play

button"

on

the

tape

recorder to start the m u s i c as y o u say, with a

routine.

smile,

"Professor, music please." Then take

u p t h e first p a p e r n a p k i n a n d d i s p l a y i t , F i g ure 7 6 5 . S w i n g the b o d y t o the left, F i g u r e The

Routine

766

and

slap

the

paper

into

the left h a n d .

Roll up the napkin into a ball, Figure 7 6 7 . An Needed

for

the

routine

are

four

paper

exposed

napkins and an open cardboard frame or b o x measuring about

seven

inches

long by

view

of the

action

at this p o i n t is

shown in Figure 768.

four

5. When the napkin has b e e n rolled into a 96

tight

ball,

turns

the

palm

left

hand

down,

the

closes

right

over

hand

it

and

slaps

the

m a g i c p o w d e r — a n d t h r o w s i t a t the c l o s e d left hand, Figure 7 8 0 .

b a c k o f the left h a n d a n d d r a w s sharply b a c k t o the right, Figure

16. R e p e a t the action of S t e p s 14 a n d 15

7 6 9 . N o t e that the b o d y

again.

also swings b a c k t o the right.

17. N o w

6 . N o w d i s p l a y the b a l l a t t h e left fingertips,

Figure

7 7 0 , t u r n i n g the left h a n d p a l m

the

ball,

at

the

smile

shake

your

head

as

8. Swing ball,

if

right

body

to

the left a n d t a k e

ball

and

holds

it

c o n t e x t ; y o u m u s t loosely grip the ball with the right t h u m b , retaining it against the right

with

the

right

in the classic sense of the h a n d c l o s i n g over it;

acting in perfect coordination, drops to

right

the

the

this t e c h n i q u e is e x a c t l y w r o n g in the present

the

When

catches

left

to

772.

thumb

against the right p a l m . T h e ball is n o t p a l m e d hand

swings hand,

the

Figure

left h a n d a n d

p a l m a n d roll it again as in Figure 7 6 7 . T h e

saying, " N o , it hasn't disappeared y e t . " the

the

1 8 . N o w p l a c e the ball b a c k i n t o the left

audience as y o u display

and

open

to the audience, "Still here."

toward the audience as shown in Figure 7 7 1 . 7. L o o k

slowly

again display the ball, Figure 7 7 1 , as y o u say

ball,

the

the lap,

F i g u r e 7 7 3 . N o t e that w h e n the right

palm

hand

to

or curl the h a n d a r o u n d the ball.

is

the

e x t r e m e right the b o d y a l s o

leans to the right, F i g u r e 7 7 4 .

without

having to

t e n s e the right h a n d

1 9 . T h e left h a n d c l o s e s i n t o a fist as if it

9. On t h e w a y to the right, roll the ball to

h e l d the ball. T h e left a r m raises at the e l b o w

a p o s i t i o n b e t w e e n t h e right first a n d s e c o n d

as

finger, F i g u r e 7 7 3 a n d d i s p l a y it for a s e c o n d .

position

T h e n swing the right h a n d to a p o s i t i o n a b o u t

w a r d the a u d i e n c e . A s the left h a n d m o v e s t o

five

the

inches

over

the t o p

of the b o x ,

Figure

775.

the

left

hand

with

rotates,

the

position

of

back

Figure

781,

to

a

of the left h a n d to-

Figure

782,

the

right

hand

c o o r d i n a t e s its a c t i o n s in s u c h a w a y that the 10. It must be emphasized that the action

right

forefinger points

the

c l o s e d left fist

the left h a n d r e a c h e s

the position of

of S t e p s 8 a n d 9 is one c o n t i n u o u s m o t i o n as

just as

the right h a n d swings

Figure 7 8 2 .

the ball, back to

then

first

to

the left to get

to the right to d i s p l a y it, then

the position

over the b o x

2 0 . N o w c o m e s a crucial s e q u e n c e of co-

shown in

ordination

Figure 7 7 5 .

the

1 1 . L o o k at the audience, shake the head,

left

hand

condition,

raises

and

to

the

left

palm-tohand

the

body

and

the

two

ure slowly

position,

display

Note

more

that

the

the

left

hand

apparent

ball,

the b o d y leans t o the

strongly

and

2 1 . When

Figure 7 7 7 . moves

rest to

focus

attention

on

that

all

attention

is

on

the

c l o s e d left h a n d .

1 3 . T h e left h a n d c l o s e s over the ball, a n d

hand

783.

to

together,

the right h a n d r u b s the b a c k o f the left h a n d , right

a

the left h a n d . N o t e a l s o that the h a n d s m o v e

de-

p o s i t s the ball i n t o the left p a l m , F i g u r e 7 7 6 .

14. T h e

to

upward

Figure a

right

table

raises

did not place the ball into the b o x . audience

between

h a n d s . A s the right h a n d m o v e s t o the e d g e o f

a n d i n d i c a t e b y y o u r e x p r e s s i o n t h a t y o u still 12. The

to

783,

simply

away

you

both

relaxes

reach

hands its

grip

on

the

hand

p a l m e d ball,

is a b s o l u t e l y e m p t y , Figure 7 7 8 , a n d the right

open

h a n d dips d o w n into the b o x , Figure 7 7 9 , t o

relax p r e s s u r e , a l l o w i n g the ball t o fall. L o o k

take something. N o t e in Figure 779 that Sly-

at t h e left fist as if l o o k i n g i n t o the fist at t h e

dini is l o o k i n g into the b o x as if he is p i c k i n g

ball.

up

some

and

specific

taking

hand

goes

it

(although

from

to

the

the

invisible)

box.

bottom

of

invisible

to lap

the ball; simply

2 2 . In a c o n t i n u i n g action the right h a n d

A l s o the right

m o v e s b a c k d r a m a t i c a l l y to the right, Figure

the

box

and

784.

Snap

the right fingers as the right h a n d

m o v e s b a c k t o the position o f Figure 7 8 4 . D o

1 5 . T h e right h a n d c o m e s o u t o f the b o x its

t o t h e l a p . D o not

object

pantomimes taking an object. holding

hand

drop

right

allowing the

right

to

The

f r o m the left, e m p h a s i z i n g that the right h a n d

the

ball

the position of Fig-

stop.

n o t allow the right h a n d to p a s s over the b o x

substance—presumably

as it moves, because y o u want to avoid any 97

suspicion

that y o u allowed the ball to

ure

drop

2 3 . T h e left h a n d has m o v e d to a p o s i t i o n over

the

rubs

the b a c k o f the left h a n d ,

Move

box

the

pretend

right to

closed

at

this hand

point. out

scrutinize

left

hand,

then slowly

the

Figure

the

p a l m e d ball

is

p a l m e d by the

classic p a l m where the h a n d or the p a l m curls

T h e right h a n d

of

794,

right t h u m b . A g a i n this is n o t a n y t h i n g like a

f r o m the right h a n d t o the b o x .

Figure

the act

o p e n the left h a n d ,

clips

then

against the right p a l m . T h e c o n c e a l e d ball is

way,

content

786,

a r o u n d the ball. R a t h e r , the right h a n d lightly

785.

of

the

the

palmed

clipped by

satisfied,

the

ball,

holding

it

in

place

right t h u m b a t the e x a c t m o -

m e n t that y o u b l o w on the visible ball.

Figure 7 8 7 ,

31. Now

the

left

hand

raises

and takes

a n d s h o w t h a t the first b a l l h a s v a n i s h e d a n d

the visible ball at the fingertips, Figure 7 9 5 .

invisibly p a s s e d to the c a r d b o a r d b o x .

An e x p o s e d view showing the true situation at

24. Both audience, 788,

hands

as

smile,

are

you

look

look

at

open, palms

toward

into the b o x ,

Figure

the

people,

and

this p o i n t is indicated in Figure 7 9 6 . 3 2 . T h e left h a n d n o w m o v e s t o the p o s i -

say,

tion indicated in

" O n e , " Figure 789.

Figure

797

while

the

right

h a n d s i m u l t a n e o u s l y points to the visible ball. An e x p o s e d view is shown in Figure 7 9 8 . 3 3 . N o w the r i g h t hand goes into the b o x for m o r e

Phase

Two

of the 2 5 . Pick up

magic

dust,

Figures

799 and 800,

and drops the p a l m e d ball. It then c o m e s out

another napkin, Figure 7 6 5 ,

box

and

sprinkles

dust

on

the

ball,

F i g u r e 8 0 1 . T h e right h a n d g o e s into the b o x

roll i t i n t o a b a l l , F i g u r e s 7 6 6 , 7 6 7 , 7 6 8 , a n d

again, very slowly, p a l m toward audience, as

go

you

through

all

of the

motions

depicted

in

Figures 7 6 9 , 7 7 0 , 7 7 1 .

pick

up

more

magic

dust.

The

dust is

then s p r i n k l e d on the ball in the left h a n d .

2 6 . T h e right hand takes the ball as de-

3 4 . N o w follow the

sequence

of Figures

picted in Figure 7 7 2 . T h e right hand swings to

781

the

Figure 8 0 2 , l o o k up at the audience and hold

right

t o d i s p l a y the ball a s t h e left h a n d

through

d r o p s t o the l a p , Figure 7 7 3 . B u t this t i m e the

up

left h a n d p i c k s u p the l a p p e d ball a s d e p i c t e d

"Two."

two

788.

fingers

After looking in the b o x ,

with

the

right

hand, saying,

in the e x p o s e d view in Figure 7 9 0 . 27. The

right

over the t o p

hand moves to a position

of the b o x , as s h o w n in Figure

7 7 5 . T h e n t h e r i g h t h a n d s w i n g s t o the left a s the

left

back

of

hand the

moves

to

a position with

left h a n d t o the

audience.

hands meet as shown in Figure posed

view

of the

Phase

Three

the The

35.

7 9 1 . An ex-

T h e third n a p k i n i s h a n d l e d the s a m e

w a y as the second.

situation at this p o i n t is

shown in Figure 7 9 2 . 2 8 . T h e left h a n d , w h i c h a t this p o i n t has the fingers p o i n t i n g to the floor, swivels at the

Phase

Four

wrist s o t h a t t h e left Fingers p o i n t t o the right, Figure

793.

The

back

of

the

left

hand is

36.

toward the audience. 29. Now

The

fourth

napkin

is

handled

the

s a m e w a y a s the third. A t the finish, l o o k u p

with the

right

side

toward

the

at the audience a n d say, " F o u r , " Figure 8 0 3 .

a u d i e n c e , the left fingers straighten up so that the

hands

794.

This

Step

29

paid to

are

together

sequence sound

angles

easy,

as

from

shown Step

in 28

Figure through

but attention must be

to prevent the

Phase

Five

audience from

c a t c h i n g a flash of the p a l m e d ball.

What

3 0 . As y o u b l o w on the visible ball, Fig-

imaginary 98

you dust

are going to do n o w is p l u c k from

the

air a n d s p r i n k l e i t

into the b o x to cause the four balls to b e c o m e

Figure 8 1 4 . L o o k into the b o x a t the c o m p l e -

visible.

tion of this a c t i o n , then l o o k at the a u d i e n c e ,

3 7 . A f t e r y o u s a y , " F o u r , " the h a n d s ges-

smile and say, " Y e s , four balls."

ture as y o u say, "that's all," Figure 8 0 4 , and

43.

All

that

remains is

to

lift

the b o x

then are b r o u g h t against the b o d y in a relaxed

exactly as s h o w n in Figure 8 1 5 to s h o w the

rest p o s i t i o n , Figure 8 0 5 . N o w the right h a n d

four

reaches

fall f l a t o n t h e t a b l e b e h i n d t h e b a l l s , F i g u r e

to

the

right

for

some

magic

dust,

F i g u r e 8 0 6 . A t the s a m e t i m e the left h a n d

hand

moves

A l l o w the b o x

to

N O T E : When rolling p a p e r balls, p l a c e the

Figure 8 0 7 is an e x p o s e d view. left

the b o x .

8 1 6 , and the routine is complete.

drops to the lap and picks up the l a p p e d ball.

38. The

b a l l s inside

n a p k i n i n t h e left p a l m . K e e p the left h a n d to

a back-up

stationary.

The

right

h a n d rolls the napkin,

p o s i t i o n while the right h a n d p l a c e s its imagi-

rolling in a c l o c k w i s e direction, the right h a n d

nary

a t r i g h t a n g l e s t o t h e l e f t h a n d a t all t i m e s .

dust against

Figure

808.

the b a c k

Figure

809

o f the left h a n d ,

shows an exposed

v i e w of the actual situation at this p o i n t . 39. The

left

hand

turns under the

right

h a n d , rotating to a p o s i t i o n where it is p a l m t o - p a l m with the right h a n d , F i g u r e 8 1 0 a n d transfers

the

ball

to

the

right

hand,

Alternate

This is an alternate m e t h o d of unloading

already described.

the p a p e r ball

4 0 . T h e left h a n d turns over s o i t i s b a c k A t the s a m e t i m e the right

of

hand

the

terms

left

hand

as

shown

in

Figure 8 1 2 , the position of Misdirection. 41. Now box

the

dust,

Figure

813,

unloading

a

paper

ball

too

difficult

in Figures 7 8 2 , 7 8 3 , and 784.

and

1. T h e ball is p a l m e d in the right h a n d as

d u m p s off the p a l m e d ball. It emerges from

the

the b o x and sprinkles the dust on the alleged

(position of misdirection), Figure 8 1 7 .

ball

in

the

left

h a n d . T h e right h a n d , p a l m

right h a n d p o i n t s to the c l o s e d left h a n d 2 . T h e right h a n d then m o v e s b a c k , the

t o w a r d the a u d i e n c e , goes into the b o x again

heel

a n d s p r i n k l e s m o r e d u s t o n the c l o s e d left fist.

table,

The

to the position s h o w n in Figure 8 1 8 .

right

hand,

in

moving to

the

box

the

s e c o n d t i m e in a palm-to-audience condition,

of the h a n d contacting the

3. The

right

right,

Figure

the

y o u are a w k w a r d l y turning the right h a n d j u s t

drop into the lap.

the

purpose

of the

audience

seeing the

4. Continuing

h a n d e m p t y ; the s h o w i n g that the right h a n d

hand

is e m p t y is merely a c o n s e q u e n c e of the natu-

Figure

ral w a y i n w h i c h i t m o v e s t o t h e b o x f o r m o r e

edge

of the

F i g u r e 8 1 8 , a s t h e left h a n d m o v e s u p

must look relaxed; it must not appear as if for

in

of the handling, the following m e t h o d

is suggested. It replaces the m e t h o d illustrated

right h a n d m o v e s into the

for s o m e m a g i c

for the a b o v e routine. Slydini

m e n t i o n s that if y o u find the original m e t h o d

to the audience. to

Method

Figure

8 1 1 . T h e ball i s p a l m e d b y the right t h u m b a s

points

Unloading

moves 820,

up

hand

continues

819, its and

as you

to slide to

allowing the ball movement, then

the

the

hand

to

right opens,

gesture dramatically to-

w a r d t h e c l o s e d left h a n d .

magic dust.

5. The

4 2 . N o w the left h a n d o p e n s a s i f sprink-

vanish

of

the

ball

from

the left

h a n d n o w c o m m e n c e s as d e s c r i b e d in the orig-

ling the a c c u m u l a t e d m a g i c dust into the b o x ,

inal t e x t .

99

15

Bonus Chapter to use so strong a m e t h o d . Slydini has dozens

L L o f the material i n this c h a p t e r i s new.

All

of

of it is u n c a n n y as well,

p r o d u c i n g visual

effects

variations

course,

of such a

he

on

is

the

basic

theme,

and,

of

past master of switching one

unsur-

object for another at any time, under virtually

p a s s e d in the literature. T h e y point once again

any circumstances. The method about to be

to

explained

high Slydini's

Any

order

that

they

extraordinary

are

creative

ability.

is held

for particularly

tating for an a u d i e n c e of m a g i c i a n s .

of y o u r close-up act.

Preparation

G y p s y Thread Trick

but

in reserve

attentive a u d i e n c e s , and is, of c o u r s e , devas-

o n e of t h e m c o u l d well be the highlight

S l y d i n i has b e e n d o i n g this trick for y e a r s ,

The

first p a r t o f the p r e p a r a t i o n a c t u a l l y

exclusively for l a y m e n . T h e y react m u c h

follows

the traditional line in w h i c h an e x t r a

the s a m e w a y as magicians w h o h a p p e n to be

length of thread is balled up and hidden on

i n t h e a u d i e n c e w h e n S l y d i n i d o e s t h e trick—

the s p o o l by winding several lengths of thread

with s h o c k at the c l i m a x of the trick. Slydini

a r o u n d it. I n m o r e d e t a i l , y o u w o u l d p r o c e e d

has

as follows. First, use yarn or s o m e other t y p e

not

e x p l a i n e d this t o m a g i c i a n s b e c a u s e

the majority

w a n t the secret—that is, the ex-

o f t h r e a d t h a t i s t h i c k ( a n d h e n c e e a s i l y visi-

act

is

ble) a n d also easy to tear by hand. White or

thing

it

wanting to

which

Slydini

uses—

without

yellow shows up best at a distance.

m a s t e r the timing, c o o r d i n a t i o n -

all o f t h e e l e m e n t s w h i c h g o i n t o t h i s r o u t i n e

Start with

w h i c h m a k e s so s t r o n g a m a s t e r p i e c e o u t of it.

long.

This

a piece a b o u t thirty-six inches

will

be

the

p r o d u c e d at the finish

When Slydini does the G y p s y T h r e a d for

thread

t h a t will b e

of the routine as the

magicians, he deliberately uses the old meth-

restored thread. L e a v e a b o u t six inches at one

od—that of having the restored thread hidden

end,

on

palming it

t h r e a d a r o u n d t h e first a n d s e c o n d f i n g e r s o f

with the right h a n d as the thread is u n w o u n d ,

the left h a n d in the f o r m of a figure 8, until

etc. so the magicians k n o w exactly what he is

a b o u t ten to twelve inches are left. F o l d the

the

spool,

picking it up

and

then

begin

at that point and wind the

d o i n g and follow the routine right through to

Figure

t h e f a t a l t r a p ; w h e n t h e t r i c k i s t o o far a l o n g

piece a r o u n d the f o l d e d thread until six inch-

for a n y a d j u s t m e n t t o b e m a d e , w h e n i t a p -

es is left at the end. T h u s y o u have a ball of

pears

t h r e a d w i t h six i n c h e s at e a c h e n d left free. If

as

palmed

if

Slydini is

thread,

about

to

ring in

the

the l o o p is t o o big, fold it in half again.

he suddenly " d i s c o v e r s " the

N o w with

p a l m e d , rolled —uppiece, frowns, says, "What in

the

8 in half, t h e n w i n d the twelve inch

loose

world is t h i s ? " and throws away the

a toothpick, push or w o r k the

ends into the ball of thread. When y o u

finish t h e r e will b e a b o u t five i n c h e s o f e a c h

p i e c e he is s u p p o s e d to switch in! T h e miracle of it is that he then goes on

e n d o f the t h r e a d left free. T h e b u n d l e will b e

to b r e a k the thread in p i e c e s , ball t h e m u p , let

otherwise secure. This is standard preparation.

the spectator hold a loose

This bundle,

end of the balled

referred to hereafter as

the

piece, and i m m e d i a t e l y restores the thread to

r e s t o r e d p i e c e , rests o n the left leg n e a r t h e

its

knee.

original

length

without

a false

move.

Slydini

crosses

the

left

leg over the

right. T h i s raises the leg. T h e left leg is p o s i -

For laymen, of course, it is not necessary 100

tioned so the knee (and the restored thread) is

right.

h i d d e n b e l o w the e d g e o f the t a b l e t o p . D u r i n g

y o u r right.

If n o t ,

invite a s p e c t a t o r up to sit at

the course of the routine, as Slydini starts to

Slydini remarks, " Y o u are n o w going t o

b a c k u p , the left leg n a t u r a l l y m o v e s o u t f r o m

see s o m e t h i n g y o u ' v e never seen b e f o r e . " Of

under

c o u r s e , as s o o n as m a g i c i a n s in the a u d i e n c e

the

table,

and thus the thread m o v e s

o u t i n t o e x a c t l y the right p o s i t i o n for a dia-

see

bolical steal.

dini

must

be joking,

as

they

have

all s e e n

s o m e version or other of the torn a n d restored

T h e n e x t p a r t o f the p r e p a r a t i o n involves

thread.

a n o t h e r p i e c e o f t h r e a d w h i c h will b e u s e d a s the bluff or throw-off.

the s p o o l of thread they realize that Sly-

This piece should be

Reach

into

the

pocket

and

remove

the

a b o u t ten to twelve inches in length. Ball it

s p o o l , p r e f e r a b l y f r o m a left p o c k e t as it will

up,

to

be unraveled from the s p o o l to the right. T h e

m a k e a secure b u n d l e , then t h r e a d or p a s s the

left t h u m b i s over t h e b u n d l e . T h e e n d o f the

end

thread is taken in the right h a n d , Figure 8 2 5

tuck

in

of the

the

ends

using

thread on the

a

toothpick

s p o o l t h r o u g h this

balled up piece. Slide it along the thread until

and pulled to the right, Figure 8 2 6 . When y o u

it is

have

a b o u t thirty-three inches

The

preparation

of

this

from the end.

piece

is

shown in

a r o u n d the

spool, winding the thread

The

around the bluff or throw-off bundle, Figures

spool,

8 2 2 and 8 2 3 .

the

right

hand

grasps

then

moves

in

to

the

the hidden bluff bundle b e h i n d

s p o o l , a n d only then b r e a k s the thread,

view in Figure 8 2 4 . T h e spool (concealing the

in

b l u f f b u n d l e ) is on the t a b l e to the left. ( T h e

from view.

the

right h a n d a n d c o m p l e t e l y c o n c e a l e d

T h e left h a n d p l a c e s the s p o o l to the left

bluff bundle can also be c o n c e a l e d under the in

of thread to

Figure 8 2 8 . In Figure 8 2 8 the bluff bundle is

T h e c o m p l e t e preparation is s h o w n in the

spool

inches

right e n d of the thread.

F i g u r e 8 2 1 . Y o u t h e n roll t h e free e n d o f the thread

pulled a b o u t thirty

the right, Figure 8 2 7 , the right h a n d d r o p s the

and out of the way.

the central hole as per m o r e tradi-

T h e right h a n d turns p a l m d o w n . T h e left

tional m e t h o d s . ) T h e restored thread is on the left knee. In the center of the table is a glass

hand

of water.

h a n d a n d slides a l o n g the t h r e a d to the left,

then

Figures

The spool of thread can also be placed in

grasps

829,

the

830,

thread

831.

near

the

right

When the left h a n d

a p o c k e t . Care m u s t be taken that the thread

reaches the end of the thread, it slides off the

will n o t u n r a v e l ,

end a n d allows the e n d to d r o p to the table-

so it is best to place

the

spool in a change pocket. Y o u can also tuck

t o p . T h e left h a n d is then s h o w n e m p t y , Fig-

the

under the bluff

ure 8 3 2 . T h e left h a n d then g r a s p s the t h r e a d

bundle merely to hold it in place and keep it

near the right end as s h o w n in Figure 8 3 3 and

free

end

of

the

thread

f r o m u n r a v e l i n g . T h i s i s r e a l l y a p o i n t o f in-

slides

dividual preference.

reaches

along

the

thread

to the left. When it

the left e n d o f the t h r e a d , i n s t e a d o f

letting go,

the

left h a n d

stays

i n p l a c e . In-

stead, the right h a n d slides off the right e n d of

the

thread,

taking

with

it the concealed

bundle, Figure 834.

Performance

T h e right h a n d then grasps the thread near the left h a n d , F i g u r e 8 3 5 , a n d slides a l o n g the

If the glass of water is not conveniently at hand,

Slydini

starts

the

routine

by

thread

saying,

to

the

right,

Figure

836.

When

the

" M a y I have a glass of w a t e r ? " T h e glass of

right h a n d r e a c h e s the right e n d of the t h r e a d

water is p l a c e d in front of h i m , a b o u t twelve

it slides o f f the thread, allowing the right e n d

inches from the edge of the table as s h o w n in

o f t h e t h r e a d t o fall t o t h e t a b l e .

Figure 8 2 4 .

The

S i n c e the e f f e c t i s d o n e c l o s e - u p , there are people there

grasps

all a r o u n d s o i t i s n a t u r a l t o a s s u m e will

be

someone

on

your

right the

hand

then

turns

palm up

t h r e a d n e a r the left h a n d ,

and

Figure

8 3 7 , a n d b e g i n s to slide to the right. All that

immediate

has been d o n e to this point serves to condi101

tion the audience to the w a y y o u handle the thread.

T h e right h a n d

F r o m here on the handling enters the

Figure

843,

drops

and

the

the

end of the thread,

right h a n d

displays

a

crucial p h a s e in which a d e m o n i c throw-off is

balled-up piece of thread as y o u say, "What

used to switch in the restored piece of thread

c o u l d this b e ? "

h i d d e n o n the left k n e e . The the

right

thread.

hand The

Still bundle

slides to the right a l o n g

audience—especially

acting puzzled, throw the balled-up of thread

cians—is s u s p i c i o u s b e c a u s e y o u h a v e o b v i o u s -

thrown

away

ly

end

the

not

shown

the

right

hand

to

be

away,

Figure

844.

Figure

8 4 5 shows the audience view. As the bundle is

magiempty

of

the

l e f t h a n d , still h o l d i n g i t s

thread, b u t n o w holding the

d u r i n g all o f t h e p r e c e d i n g h a n d l i n g . T h i s sus-

stored thread

picion is only strengthened by the fact that

This,

the left h a n d has b e e n s h o w n e m p t y o n m o r e

coordination. Both hands move simultaneous-

than o n e o c c a s i o n . T h e right h a n d m o v e s u p

l y w i t h all a t t e n t i o n o n t h e r i g h t h a n d . A f t e r

and

the

comes

Coordination

comes

hand

must

reach

at

exactly

the

end

comes

on

the

up

vital

into view. element

of

b a c k t o m e e t the left h a n d . T h e left

hand continues

into play here. T h e the right

well,

depends

the right h a n d t o s s e s the b l u f f b u n d l e a w a y , it

left h a n d m o v e s d o w n a s s h o w n i n

Figure 8 3 8 .

right

too,

as

re-

the

of the

right.

to m o v e up into view and to

When

the

hands

meet,

the

right

left

hand grasps the thread at a position near the

T h e right

left h a n d a n d b e g i n s t o tear u p the t h r e a d b y

h a n d slides to the right. Y o u lean to the right

p u l l i n g it, F i g u r e 8 4 6 . It is well to p o i n t o u t

thread hand and

same

instant

reaches the restored bundle. concentrate

hand,

all

attention

the

on

the

that it is precisely here, ( F i g u r e 8 4 5 , to pin-

right

point

F i g u r e 8 3 8 . A t the s a m e t i m e the left

it) t h a t the m a g i c i a n s in the a u d i e n c e

begin to wonder where Slydini is going to go

h a n d brings its e n d o f the t h r e a d d o w n , b e l o w

from

the edge of the table, Figure 8 3 8 again.

here

because

he

has—quite

literally-

thrown the m e t h o d away!

I n Figure 8 3 9 the right h a n d c o n t i n u e s t o

T h e r e is no delay b e t w e e n the right h a n d

slide closer to the right e n d of the thread. T h e left h a n d m o v e s further d o w n b e l o w the e d g e

throwing the balled-up bluff piece

o f t h e t a b l e . N o t e t h a t all a t t e n t i o n i s f o c u s e d

a w a y a n d the h a n d s c o m i n g together so the

o n the m o v e m e n t o f the right h a n d .

thread

can be

of thread

broken as depicted in Figure

8 4 6 . N e i t h e r h a n d h e s i t a t e s ; a s the left h a n d

Figure 8 4 0 shows an exposed shot from the p e r f o r m e r ' s view. As the right h a n d m o v e s

moves

a l o n g t h e t h r e a d , the left h a n d m o v e s d o w n

b a c k t o the left a n d g r a s p s the t h r e a d .

b e l o w the tabletop.

Since the b o d y leans to

up

The

into view,

it into small pieces.

the table.

touch 841

shows

the

the restored

reaches the end of the thread. N o t e the ex-

right h a n d

stored bundle

Slydini's

face

as

he

hand

swings

Of course, it does not

t h r e a d p a l m e d i n the left

hand. All of the torn pieces are held in the

right h a n d as it

pression

on

right

right h a n d pulls the thread, b r e a k i n g

the right, the left leg m o v e s o u t f r o m b e l o w Figure

the

begins to

a s s h o w n i n F i g u r e 8 4 7 . T h e reis

in

the

left

hand in Figure

realize that s o m e t h i n g is n o t quite right. N a t u -

8 4 7 , but y o u handle it as if it were just one

r a l l y , all o f t h e a u d i e n c e i s c o m p l e t e l y a t t e n -

m o r e p i e c e o f t h r e a d . T h e left t h u m b a n d first

tive

to

the

fact—clearly

right

hand,

left h a n d h a s c o m p l e t e l y d r o p p e d f r o m their

e n c e s e e s are t h e l o o s e five i n c h e s o f e a c h e n d

view.

of the restored piece. The

842 left

is

an

hand

Figure

exposed has

841,

finger, of c o u r s e , hide the b u n d l e that actuall y c o m p r i s e s t h e r e s t o r e d p i e c e ; all t h e a u d i -

Figure

in

and thus ignore the that the

point.

shown

view at this

picked

Say,

u p t h e re-

"I'm

going to take one piece. The

rest we'll leave h e r e . " T h e situation is s h o w n

s t o r e d b u n d l e f r o m the left leg. N o t e h o w the

i n F i g u r e 8 4 8 . T h e right h a n d d r o p s the torn

b o d y leans to the right, a d d i n g to the focus of

p i e c e s on the table. T h e left h a n d holds the

a t t e n t i o n to the right h a n d .

restored piece.

Y o u realize that there is s o m e t h i n g in the

You

right h a n d that clearly d o e s n o t b e l o n g there.

now

place

the

right first finger o n

t o p o f the t a b l e d p i e c e s , F i g u r e 8 4 9 , a n d roll 102

them into a loose ball. Pick them up between

restored thread is released from b e t w e e n the

t h u m b a n d first finger a n d d i p t h e m i n t o the

left t h u m b a n d first finger,

glass

performer's

of

water,

Figure

850.

M a k e sure this

b u n d l e i s i n full v i e w a t all t i m e s . S q u e e z e o u t

between

the excess water, Figure 8 5 1 , then display the

the

moistened ball as shown in Figure 8 5 2 .

the

of the

Figure 8 5 8 . The

thread

is

re-gripped

left t h u m b a n d first finger.

balled-up

H o l d it j u s t like t h a t . "

squeeze it also.

N o w begin to pull y o u r end of the thread "Would you

mind holding one

away as y o u

say

e n d o f this p i e c e i n y o u r right h a n d ? " A s y o u

slowly.

your

address

thread starts to unravel, Figure 8 5 9 .

Let

the

the

s p e c t a t o r , e x t e n d the left h a n d .

spectator

g r a s p o n e e n d o f t h e left

When

they

clip

reach

the

to

the

spectator,

"Pull it

Slowly,"

a n d the

time.

full l e n g t h , F i g u r e 8 6 0 . N o t e t h a t b o t h h a n d s

for the near e n d of the

other

Take

F i n a l l y , t h e t h r e a d is s h o w n r e s t o r e d to its

hand thread as shown in Figure 8 5 3 . thread,

As

center of the thread suddenly

c o m e s i n t o v i e w , s a y , " H o l d i t . D o n ' t p u l l it!

D i p the left h a n d p i e c e into the w a t e r a n d N o w say,

end

are p a l m t o w a r d the a u d i e n c e , s h o w i n g t h e m

e n d b e t w e e n t h e left

absolutely e m p t y . This only adds to the be-

third a n d fourth fingers. This can be seen if

fuddlement

y o u study Figure 8 5 3 .

have absolutely no idea h o w the restoration

The

right

moistened

hand

bundle

now so

it

raises, is

holding

always

the

of

magicians,

who

b y this t i m e

was accomplished.

in view,

Figure 8 5 3 , palm to audience. You

n o w toss the balled-up pieces from

the right h a n d a g a i n s t the t h r e a d , F i g u r e 8 5 4

Second

Method

and 8 5 5 . A c t as if y o u missed whatever target y o u were a i m i n g for, p r e s u m a b l y the center

For

the

average

lay

audience

it is not

of the thread held by the spectator. Pick up

n e c e s s a r y to go t h r o u g h a m e t h o d of this kind

the

to fool them. The bluff or throw-off bundle is

t a b l e d ball of thread with the right h a n d

as y o u say, " I ' m sorry, I have to do it again."

obviously not needed. The restored bundle is

This is where Timing c o m e s into play. When

p r e p a r e d as d e s c r i b e d a n d p l a c e d on the left

you

knee.

say,

"I

have

to

d o i t again," t h e

right

h a n d gestures to e m p h a s i z e the w o r d " a g a i n . " Then

the

right

hand

drops

back

Pull

to the

off a thirty-six inch length of thread

as shown in Figure 8 2 7 . As the thread is run

e d g e o f t h e t a b l e t o the rest p o s i t i o n i n d i c a t e d

between

in

spool, y o u can show b o t h hands e m p t y at any

Figure

attention tighter

8 5 6 and y o u lap the thread. S w i n g to

to

the spectator by saying,

the

end

right h a n d m o v e s the

table,

thread,

as

as

if

you

of up

still

the

thread,"

"Hold

holding to

the

and

broken

from

the

After

the

thread

is

broken

free

of the

spool, run it b e t w e e n the hands as s h o w n in

balled-up

emphasize

hands

time.

and the

away from the edge of

gesture

the

Figure 837

the

hand

words.

has

t h r o u g h 8 4 1 . T h e n , after t h e left

stolen

the restored b u n d l e on the

left k n e e , b r e a k the visible t h r e a d into p i e c e s

Pretend to

as

dip the balled-up thread into

shown in Figure 8 4 6 . The handling from

here to the end is e x a c t l y as described a b o v e .

t h e w a t e r , F i g u r e 8 5 7 , a n d w i t h t h e h a n d still in this p o s i t i o n s q u e e z e the fingers t o g e t h e r as

NOTE:

It is not necessary to use a spool

thread.

You

if to get rid of the e x c e s s water. It is vital to

of

the

thread on a piece of cardboard. F o r s o m e , it

illusion

same held

here the

that the handling is exactly the as

when

balled-up

the

right

thread.

A

hand few

actually drops

may

of

be

easier

can to

wind

several

yards

of

carry the t h r e a d this w a y

rather than on a s p o o l .

w a t e r will fall o f f t h e fingers, a d d i n g t o t h e illusion that this water is the e x c e s s s q u e e z e d

Production of a Glass of Liquid

f r o m the t h r e a d in the right h a n d . T h e right h a n d m a k e s a throwing m o t i o n .

T w o g l a s s e s are u s e d . O n e i s filled w i t h

At the s a m e instant the balled-up part of the

liquid 103

and covered with a rubber cover. Be-

sides

the

t w o g l a s s e s , y o u will n e e d a silk

handkerchief

about

twenty

inches square

pick up the glass, Figure 8 6 4 , and e x t e n d it to

or

a nearby spectator to examine, saying, " S e e if

larger. T h e silk s h o u l d b e o p a q u e . The

glasses

can

be

carried

there's a hole in this g l a s s . " in a nested

2. Place the h a n k on the t a b l e to the right

condition as shown in Figure 8 6 1 . T h e glasses Slydini the

in the position shown in Figure 8 6 4 .

uses are a b o u t three inches tall, b u t

glasses

3. T a k e b a c k the glass and replace it on

c a n b e taller i f d e s i r e d . T h e dia-

the table as in Figure 8 6 3 .

meter of the m o u t h of the glass is a b o u t t w o and a half inches. shown in

Figure

Fluted 861

are

4 . S a y , " I d o n ' t drink, b u t there are times

glasses like those

when I do shows—cold weather for example—

preferred because

w h e n I e n j o y a s m a l l glass of w i n e . O n e d a y I

they provide more " g r i p " than smooth-walled

went

glasses a n d will thus s t a y in the p r o p e r p o s i -

and

tion in the lap m o r e securely.

attention

The

liquid

should

be

dark,

preferably

to I

the b a r in a r e s t a u r a n t with a friend called

the

to me

bartender.

He

cloth and he whispered to me,

can

c o v e r it u p . ' "

white

production as

confetti

and

finish—after the

of the glass of what y o u refer to

milk—by

pay

c a m e a n d he b r o u g h t a glass a n d a piece of

wine or c o f f e e ; if performing for children y o u use

didn't

for a l o n g while. Finally he

5. "I

didn't

know

what

'Cover it up,

he

was

talking

throwing the confetti out to the

about. He went away. I thought he must have

audience. Y o u can also p r o d u c e a glassful of

been crazy. Then he c a m e by again and said,

candy

' C o v e r it

w h i c h i s l a t e r d i s t r i b u t e d t o t h e chil-

u p , cover it u p . ' I figured that he

dren. T h e trouser pockets should not contain

m u s t have m e a n t that

keys,

glass, but I didn't k n o w w h y . "

coins,

etc.,

in

other words,

anything

that might m a k e noise w h e n the visible glass is lapped.

6. Pick up the hank as shown in

T h e nested glasses can be carried in

on both

the course of y o u r act, while apparently look-

cloth

ing for s o m e o b j e c t for e x a m p l e , y o u m u s t get the nested glasses out of the p o c k e t and into

empty

glass

up

and

onto

the

with

the

unloads

the

cover

into

the

drops

unimportant.

back

to

the

Then

lap,

the

pocket.

right

in

around hank,

was

but

I

the

right

Figure

corner

867.

of the

Then

the

silk

left

as

hand

from

the

Figure

each

hand

The

end

front

869.

to

Then

the

the

back

little

of

the

finger of

is c u r l e d a r o u n d b e h i n d the silk. position is

shown in

the

exposed

view in Figure 8 7 0 . A view from the front is

Then he shrugs as if the object he was looking was

there

cloth,

8. T h e forefinger of each hand n o w curls

left h a n d a n d h o l d s

p o c k e t for s o m e o b j e c t , he

rubber

the

f r o m the right h a n d , to the p o s i t i o n i n d i c a t e d

and p a l m s the cover; then, under the pretense a

thinking

in Figure 8 6 8 .

t h e m while the right h a n d slips the c o v e r off of looking in

it,

moves into a position a b o u t four inches away

S l y d i n i t o get rid o f the r u b b e r c o v e r o n glasses

gather

shown

t h e liquid-filled glass is as f o l l o w s : he lifts the

for

about

7. H o l d the silk as s h o w n in F i g u r e 8 6 5 .

legs a s s h o w n i n Figure 8 6 2 . T h e m e t h o d u s e d

nested

at

special

Now

table. T h e liquid-filled glass rests b e t w e e n the by

looked

something

c o u l d n ' t find a n y t h i n g . "

he leaves the liquid-filled glass in the lap while the

sides as y o u say, "I picked up the

and

Slydini p a u s e s after d o i n g this, then

bringing

Figure

8 6 5 , and display it as in Figures 8 6 5 and 8 6 6

the j a c k e t p o c k e t or the close-up case. During

the lap.

I should cover up the

shown in Figure 8 7 1 .

hand

9. N o w the silk is t h r o w n over the glass,

picks up the e m p t y

Figure

glass and places it on the table.

872,

without

letting go of the hank

with either h a n d . This m o v e m e n t is a graceful throwing of the silk over the glass. 1 0 . In Presentation

a

continuing

action

the

hands

bring their e n d of the silk into the l a p , F i g u r e 8 7 3 . T h e right t h u m b a n d first finger i m m e d i -

1.

The

empty

glass

is set

d o w n on the

ately

t a b l e t o the left o f center, F i g u r e 8 6 3 , a b o u t

Figure

one inch from the edge of the table. Y o u then

875. 104

grasp

the

glass

of

wine

as

shown in

8 7 4 , a n d start to bring it u p , Figure

1 1 . An important part of the p s y c h o l o g y

("like

a little h o u s e , "

Slydini

s a y s ) as indi-

c o m e s into p l a y at this p o i n t . It is the r e a s o n

c a t e d in Figure 8 7 7 ; third, it allows y o u to get

why

rid

people

later

swear

that

they

saw

the

of

the

empty

glass

by

a move

that is

e m p t y glass up to the very last instant; in fact

c o v e r e d by the silk itself. T h i s p o i n t is cov-

they

ered in detail in the following text.

did, but what

they

did not

realize was

t h a t t h e full g l a s s o f l i q u i d w a s b e i n g s w i t c h e d in

during the very

the

empty

glass.

1 6 . T h e left little finger, b e h i n d the silk,

fair a n d o p e n h a n d l i n g o f When

the

silk

gets

pushes the e m p t y glass back, Figure 8 7 9 . This

to the

causes

t h e e m p t y g l a s s t o fall o f f t h e t a b l e ,

position of Figure 8 7 3 , Slydini pretends that

Figure 8 8 0 a n d into the lap, leaving y o u with

he

a mistake in the placement of the

just

the

881.

made

silk

over

glass.

He

says,

" N o w wait

a

minute."

pletely

8 7 4 a n d 8 7 5 , a n d s h a k e s i t o u t a n d over the

glass

behind

the

silk,

Figure

that the a c t i o n o f the little finger

a u d i e n c e a c l e a r v i e w o f t h e empty adjustment

of

accidental p o i n t ; the

the

silk.

c o n c e a l e d b e c a u s e the little finger is

b e h i n d the silk.

glass as i n d i c a t e d in F i g u r e 8 7 2 . This gives the the

filled

Note

s c o o p i n g the e m p t y glass off the table is c o m -

1 2 . H e lifts the silk a s s h o w n i n F i g u r e s

ing

the

1 7 . In

glass dur-

draped

It s e e m s an

hands

silk w a s n o t q u i t e cor-

a

continuing

action

the

silk

is

c o m p l e t e l y over the filled glass. T h e release

their

grip,

and

push

glass to the center of the table,

silk p l u s

Figure 8 8 2 .

rectly p o s i t i o n e d a n d slid o f f the g l a s s ; b u t it

M a k e sure

is this p o i n t that is so s t r o n g p s y c h o l o g i c a l l y ;

c a u g h t u n d e r the g l a s s ; this will c a u s e the glass

t h e a u d i e n c e g e t s w h a t t h e y t h i n k i s a n unin-

to tip over. N o r m a l care s h o u l d be t a k e n in

tentional

totally

any case in pushing the silk-covered glass to

full g l a s s i s a l r e a d y u n d e r

the center of the table to insure that the glass

glimpse

unaware

that

of

the

the

empty

glass,

the silk.

slides

1 3 . O n c e the silk h a s b e e n s h a k e n o u t a s

that there are no f o l d s of the silk

smoothly

without

any

minutes

later

liquid

spilling

out.

in Figure 8 7 2 , it is lowered over the e m p t y

18. "A

few

the

bartender

glass. F i g u r e 8 7 6 s h o w s the start o f this a c t i o n

c a m e b a c k . I t o l d h i m I c o v e r e d the glass. He

in an e x p o s e d view.

said, ' B y the w a y , w h a t did y o u order.' I told

14. T h e h a n d s are l o w e r e d until the glass of liquid

is

the

of the e m p t y glass. When this has

right

been

done,

on the tabletop

h i m a glass of p o r t w i n e . He then w a v e d his

immediately to

h a n d s over the glass like this. . . . " Wave the hands as shown in Figure 8 8 3 .

the hands m o v e to a position on

1 9 . ". . . a n d he s a i d , 'Well, h e r e it i s . ' "

either side of the glasses, Figure 8 7 7 , m o r e or

Y o u t h e n lift t h e s i l k , r e v e a l i n g t h e g l a s s o f

less " c u p p i n g " the g l a s s e s . T h e r e a s o n for this

wine, Figure 8 8 4 . Slydini finishes b y saying,

is to screen the glasses from spectators on the

"I w a s so surprised, I l o o k e d at my friend and

sides.

said, ' G e e , and I thought I was a g o o d magi-

Note

in

Figure

877

that

the

silk is

s h o w n a b i t r e m o v e d f r o m the g l a s s e s ; this is only to clearly

cian.' "

s h o w the relative p o s i t i o n of

the glasses to one another, a n d also the position

of the hands.

In actual p r a c t i c e the silk

covers the t o p s of the glasses c o m p l e t e l y . A

The Slydini Switch

view f r o m the front at this p o i n t is s h o w n in Figure 8 7 8 . 15. We plain

in

shown in

This will

detail

now why

Figure

b a c k up the

870.

silk

The

a bit a n d exis

gripped

reason

is

possibly

the prize

m o v e in

this

b o o k , an o u t s t a n d i n g sleight so deceptive that

as

it has

w h y this

f o o l e d m a n y of the best m i n d s in the

c o u n t r y , even after the m o v e has b e e n repeat-

p r e c i s e grip is n e c e s s a r y is m a n y f o l d : first, if

ed d o z e n s of times for the s a m e p e r s o n . It is a

frees the right t h u m b a n d forefinger, a l l o w i n g

method

of switching

o n e o b j e c t for a n o t h e r ,

these fingers

one ball for another,

a deck switch, a poker

to clip

the glass of liquid when

the h a n d s go to the l a p ; s e c o n d , it allows b o t h

h a n d switch—any switch w h e r e y o u are look-

hands

ing for an instantaneous m e t h o d of switching

to

cover

the

glasses

from

the

sides 105

one

object

5 . F i g u r e 8 9 4 i s a n e x p o s e d view a t this

for another. H u n d r e d s of p e o p l e

w h o k n e w this m o v e w a s g o i n g t o a p p e a r i n

point.

this

y o u say the a b o v e w o r d s . N o t e also that the

book

single

will

sleight

be

b u y i n g the b o o k for this

Note

that

the b o d y leans forward as

right h a n d raises straight up so t h a t it is in line

a l o n e . E v e n w h e n S l y d i n i tells poker

with the edge of the t a b l e t o p in Figure 8 9 3 .

h a n d for another, as an e x a m p l e ) , even w h e n

This f o l l o w s the principle o f T i m i n g ; y o u are

he tells y o u the e x a c t instant w h e n the switch

a b o u t t o d r o p the right h a n d straight d o w n s o

will b e d o n e , e v e n t h e n the s w i t c h c a n n o t b e

t h a t i t c o m e s t o r e s t o n the t a b l e t o p ; i t will b e

detected.

a t this i n s t a n t t h a t the s w i t c h will b e e n a c t e d .

you

that he

is

going to

switch

(one

6. In saying, "I have such b a d l u c k , " or

T h e cards to be s w i t c h e d in—say a R o y a l Flush

in

Clubs—are

in

the

lap

at

"I

the start,

g e t s u c h t e r r i b l e cards," y o u r f a c e m i r r o r s

Figure 8 8 5 . Five indifferent cards are dealt to

the e x c i t e m e n t or e m o t i o n of the voice. This

y o u b y the spectator,

a d d s to the convincing nature of the handling.

Figure 8 8 6 . T h e cards

are s h o w n or d i s p l a y e d as in Figure 8 8 7 . If

7. R e m e m b e r not to blink and to direct

y o u do not w a n t the audience to be aware of

your

the switch,

are

or of w h a t cards are going to be

s w i t c h e d o u t , then y o u w o u l d fan the cards as

the

spectator for w h o m y o u

the

trick.

You

must believe

8. T h e right h a n d begins

to drop

to the

rest position, Figure 8 9 4 . At the s a m e time

T h e a c t u a l s w i t c h n o w c o m m e n c e s . I t rebesides

words

the w o r d s y o u are s p e a k i n g .

shown in Figure 8 8 8 , faces toward y o u .

quires,

to

performing

the left h a n d m o v e s u p w i t h the p o k e r h a n d

correct handling, a complete

as shown in Figure 8 9 4 .

grasp of the c o n c e p t of T i m i n g and L e a v e & T a k e . D o n o t c o n f u s e this m o v e with the I m p

9. T h e principle

P a s s . M o r e will b e s a i d o n this a t the e n d o f

of Leave and Take now

c o m e s i n t o p l a y . Y o u will f o r g e t a b o u t l e a v i n g

the description. In the m e a n t i m e , p e r f o r m the

the u n w a n t e d p o k e r h a n d b e h i n d ; instead y o u

actions exactly as described here.

will

1. Turn

the

five

cards

face

down

and

square them up as shown in Figure 8 8 9 . Drop the

poker hand onto the table,

The

hands

are

in

the

10. When

Figure 8 9 0 .

rest p o s i t i o n

on

level

the

on

taking

the

Royal

Flush.

of

the

the

right

tabletop

hand

it

is

below

the

s i m p l y releases its

cards; it does not think of leaving them be-

table.

h i n d ; t h e r i g h t h a n d s i m p l y o p e n s t o take t h e

2. Pick up them

concentrate

T h e right h a n d continues to d r o p , Figure 8 9 5 .

with

R o y a l F l u s h . T h e right h a n d m o v e s d o w n a n d

the p o k e r h a n d again a n d fan

the

faces to y o u .

takes the R o y a l

S q u a r e up the

F l u s h f r o m the waiting left

cards and hold them as shown in Figure 8 9 1 .

hand,

T h a t is, the right h a n d d r o p s to the table with

the right h a n d m o v e s b a c k u p i n t o v i e w a g a i n ,

the cards.

Figure 8 9 8 .

3. At the

same

time

the left h a n d drops

Figures 8 9 6 and 8 9 7 , and immediately

11. The

point

of

overwhelming

impor-

to the lap. T h e timing m u s t be e x a c t ; the right

tance

hand

o f leaving its c a r d s b e h i n d , n o r m u s t there b e

the

taps

its p a c k e t against the t a b l e t o p a t

s a m e i n s t a n t the left h a n d d r o p s t o the

any

is

that the right h a n d m u s t N O T think

hesitation whatever; the right h a n d m o v e s

lap. Figure 8 9 2 s h o w s a n e x p o s e d view o f the

down,

takes the R o y a l

action;

again.

The unwanted poker hand is actually

the

left

hand

drops

to

the

lap

and

grasps the R o y a l Flush.

released as the right h a n d m o v e s d o w n . T h e right

4. N o w the crucial p o i n t . If this w e r e an might be hand

as follows. Y o u say, "I have such

luck."

As

raises

you with

begin its

to

s p e a k the

cards.

right h a n d

On

the

hand

itself is

seemingly

12. Say,

". . . believe . . ."

word

*shownin Figures 8 9 8 and 8 9 9 .

the

plete stop,

Figure 8 9 3 , to punctuate or em-

out

of

" I c a n ' t believe i t . " A s y o u s a y ,

right

". . . l u c k "

never

sight.

e x a m p l e of a p o k e r d e m o n s t r a t i o n the patter bad

Flush and moves up

c o m e s to a c o m -

the

two

hands

gesture

as

1 3 . T h e h a n d s then drop to the rest position

of Figure

9 0 0 , a n d y o u finally display

phasize the w o r d " L u c k . " This is an element

the

of Timing.

c o m p l e t e the switch. 106

Royal Flush as shown in Figure 9 0 1 to

T h i s will s e e m p e r h a p s like o v e r e m p h a s i s ,

are f o l l o w e d a s well, y o u will h a v e a n i n d e ¬

b u t the p o i n t is critical in the handling and in

tectable switch.

f a c t t h e s w i t c h w i l l n o t w o r k a t all u n l e s s t h e following point is observed. T h e details of the switch

were

of

necessity

broken

Checkpoints

down into

discrete steps to explain the handling. B u t in

(A)

In

the

two

sentences,

"I have such

a c t u a l p e r f o r m a n c e the m o v e m e n t of the right

b a d luck. I can't believe it," there is no hesita-

h a n d is c o n t i n u o u s as are

tion whatsoever. O n e sentence follows i m m e -

the

words you speak

from Step 4 through Step 12. Thus, the patter

diately

would

be c o n n e c t e d to the actions. A b r e a k d o w n or

read,

"I

have

believe i t . " If the 12

such

moves

b a d luck, I can't of S t e p s 4 through

after the other. A l s o , the w o r d s m u s t

"storyboard"

are c o n n e c t e d properly with these w o r d s ,

of

words

and

actions

is

as

follows:

if the concepts of Timing and Leave & T a k e

WORDS

ACTIONS

"I have

The right hand at edge of table, Figure 8 9 2 .

". . . such bad . . . "

The right hand begins to rise off table.

". . . luck."

The right hand reaches the position of Figure 893 as the word "luck" is said.

Pause

The right hand freezes for an instant (the "shooting of the gun" concept of Timing)

Pause

The right hand drops to the edge of the table and takes the Royal Flush while leaving the original fivecard poker hand behind.

"I can't believe it."

The right hand immediately moves up to the position of Figures 898 and 899 in time to the words.

(B)

T h e facial e x p r e s s i o n m u s t accurately

r e f l e c t the w o r d s t h a t are

spoken.

tuates

To say it

such

the last w o r d of the sentence, "I have b a d luck,"

and

the

voice

also em-

phasizes

speaking. Otherwise the w o r d s s o u n d dull and

linger at the e d g e of the table in Figures 8 9 6

lifeless a n d m a k e the m o v e itself a p p e a r sus-

and 897.

picious. Note

view.

also that the right h a n d p u n c -

107

this w o r d .

that

another way, y o u m u s t express e m o t i o n while

T h e right h a n d d o e s n o t

It immediately moves up

and into

ADDENDA

In of

an

Michael The

some

of the

assistant. Pizzolla,

and

portrait stages

of his

18

leading

on

up

in

this

assisting

Karl

photographs

various and

routines

Those

long to

in

book the

Slydini tricks

required were

Bill

the

use

Wisch,

Fulves. of Slydini and

in

this

distinguished

the present

book

career,

depict beginning

him at

at age

day.

THE SECOND BOOK

B y w a y o f e n d i n g this b o o k i t m i g h t b e wise t o m e n t i o n that w h e n this b o o k w a s in p r o g r e s s it b e c a m e clear after a p p r o x i m a t e l y s i x m o n t h s t h a t all o f t h e m a j o r S l y d i n i r o u t i n e s a n d c o n c e p t s c o u l d n o t be c o n t a i n e d in a single v o l u m e . A c c o r d i n g l y , w o r k then began

on a parallel course to

second book.

develop

the

text and p h o t o s for a

This b o o k is n o w in preparation

a n d will c o n t a i n

m o s t o r all o f t h e f o l l o w i n g r o u t i n e s a n d t e c h n i q u e s : T h e Linking Rings . . . Silk K n o t s . . . Slydini Color Change . . . A N e w Torn and Restored Cigarette . . . The Houdini Hanks . . . Secret

Addition . . .

The

Rope

Knot

Routine . . .

The

Slydini

Aces . . . The Close-Up Dice Routine . . . Fadeaway Coin . . . Salt T r a n s p o . . . F l i g h t of t h e C o i n s . . . S l y d i n i on t h e O p t i c a l C u t . . . D e l a y e d C u t as a P a s s . . . N e w T h e o r y R o p e S w i t c h . . . S w e e t S a l t . . . More Coin Routines . . . T h e S p o n g e Ball R o u t i n e . . . T h e Slydini False Count . . . Stretching a Cigarette . . . and M O R E !

108