slydini encores

5 fb z hi ENCORES

CONTENTS AUTHORS PREFACE ........................................................ 11

EDITORS NOTES ...................................................... ....... 13

IMP-PASS ........................................................................ 25

REVOLVE-VANISH ............................................................ 31

ONE COIN ROUTINE ...................................................... 35

PREDICTION IN RED ...................................................... 47

CAPRICIOUS CORNUCOPIA ................................................ 55

BALL VANISH IN THE HANDS .......................................... 67

PURSE OF ALADDIN ........................................................ 79

LONG AND SHORT OF IT .................................................. 85

WRONG WAY COINS ........................................................ 93

SWEET SALT .................................................................. 99

INTERLUDE WITH A PAPER NAPKIN ................................ 107

CIGARETTE RE-INCARNATION .......................................... 115

Two CIGARETTES FROM ONE .......................................... 125

UNPREDICTABLE COINS .................................................. 137

POSTSCRIPTUM ................................................................ 145

THUMB-TIPPING .............................................................. 149

INTRODUCTION

FOR THOSE OF us who have the pleasure and privilege of close association with Slydini, the present volume is a reference work to his exquisite artistry.

Those of you who know Tony only through the pages of The Magic of Slydini, will find this book an excellent opportunity to renew the acquaintance.

It is, however, much more. In these pages, Slydini discloses for the first time a devilishly original sleight which opens the door to performing seeming miracles. It has been aptly named, The Imp- Pass. Take it from a sophisticated eye witness: In the Imp-Pass, Slydini has given Magic a tool of almost limitless application, a basic sleight which -when properly executed- will make your audience gasp in sheer amazement. Whether you use it for coins, cards, cups and balls, cigarettes, or what have you, the effect is incredible.

Among many other select items, this book also contains one of Slydinis choice tid-bits : the Revolve Vanish.

These sleights and effects are described in minute detail, sup- plemented with illustrations. The next best thing to having Slydini personally showing you, is this book. Nevertheless and regardless of the excellent work done by Dr. Leon Nathanson, the late Al Steven- son and Blanca Lopezs editing, there is no substitllte for personal instruction. If ever you find yourself in mid-Manhattan, pay a visit to Slydini and ask him to perform any of the effects in this ENCORES. Ill wager anything, hell mystify you even though you know all about it.

It is indeed a pleasure to write this introduction for ENCORES. This book is really a tribute to a great artist and a fine human being.

-CLIFF GREEN

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

1 want Xta fhank V~L, Leon Na.thanson whohe obati- n&e pm&ttence &inaUy made me give in and a tie down ;to lthe ;ttik.

7 wanat zto lthank Mike Lman and PM MartbhakT who pa;tienHy took and then developed and ptinted the invuuntiable photognaph6 &am which we ae-&cted the not incotiidmabte numba which ,i.Uu&ti&e .thtie Pages l

7 want to Xhank Al Stevetion (poHhumo~Ly1 I(O'L Xhe warm &en&hip which p&amp&d kim, a&% a days hmd wotLk, to walk to my atidio and &he 2he noa% &torn which mahat 06 the edbe& htie given WCYVL &ashioned. To AL 7 am ai20 indeb;ted don ;the books We and tha.t 06 ;the imp-Paba. They ahe bofh a memottiae 20 him.

7 want .to lthank Cl&(6 GtLeen ho/r hi2 lntnodution, ki6 wtLite-up 04 Thumb-Tipping and h.& un&tugging &ien&hip and help.

7 want Xta thank AUan Gheenbmg 60~ kia mahal and ma.t&.a.t buppoti and encounagemeti.

7 want ;to thank my o&d &Gmi, BkZanca Lope:, do& making avaLtab&e .-to Leon fhe expdence hhe gacned

uLth Jean lfugahd in eclXng ma&v&xi? do& fhe magic &ld. 1 Xhanh http too, dOh Xhe book4 dtiign.

La&, bti no;t .tka~, 1 want ;to ;thanh anoxhet o&d &end, Na$ B&f~ti;tein, don ki6 h&p in phOO~head.ing, ptwte-up and phodution, and N&U! (MA. Benn&t&n) 6Oh hen angelTic ptience at ouh phodution and ed.iAotidt meetingA .in ;th& FanaX i-LX& apahlmeti which ahe made W~JWI and bearcable w.L.th coun;te~b cups 04 w&t-bhwed coddee-and.

Needltih to bay, th-4~ book cot&d neva have been done wLthou.t ;the coopehation 7 heceived &am each and a&L

7 .I%& Xha.t you, ion whom Lt ha6 been published, ti apphove ;the &inal hG5u-tf.

v

NW Yohk, Septembm 1966

AUTHORS PREFACE

LIKE MOST PEOPLE, I had seen a magician perform here and there and I had been entertained. In 1947, a Washington friend invited me to accompany him to a magic convention. I didnt even know there were such things! For want of something better to do, I went -and magic came alive for me when Slydini stepped to stage front.

I do not lack words, merely space, to describe my impressions. To state it succinctly: I was enthralled, delighted, entertained beyond my wildest imaginings. In my opinion: if Magic is an Art, Slydini is its Michaelangelo.

Tonys stage act in Atlantic City that night included his Knotted Silks.* If you have seen Tonys performance, enough said. If you havent, theres no sense trying. . . . I overheard one distinguished- looking spectator (later I discovered he was one of Magics greats) say: Only one outstanding magician ever attempted to entertain an audience, from the stage, with this effect. In comparison-there is no comparison. Slydini is truly great!

I sought Slydinis acquaintance and took my first lesson in magic at the close of that convention. Slydini has been teaching me, on and off, ever since.

Following his success at Atlantic City, many magical devotees insisted on being taught by Slydini and so Tony opened his New York Studio. Over the years all of Magics greats have visited Slydinis Studio of Magic in New Yorks west forties and have gone back to their several countries singing Slydinis praises.

Slydini himself has made several performing and teaching tours in the U.S., Europe, England and Latin America. His first book The Magic of Slydini has gone to many corners of the world and so, today, wherever Magic is organized throughout the world the name of Slydini is its synonym.

*See The Magic of Slydin?

11

My readers may think that I exaggerate. I can only say: See for yourself. Slydini is the only modern performer I know to whom all superlatives are applicable. His virtuosity and creativity are incredible. And no amount of description can ever do justice to his performances.

I felt that permanence should he given them in print, no matter how much the description beggared the facts and talked to Tony about doing a second book--this one. At first he wouldnt even listen. He had already gone through hell and high water with the first one and did not feel up to going through it again. But he finally con- sented to talk to Blanca Lopez (who knew his work thoroughly and who had experience in editing material for the magical field through her association with Hugards MAGIC Monthly).

To make a long story short, there were innumerable trips between New York and Washington by Tony and me. Wed also meet with Miss Lopez at Tonys studio. Another magician now gone to the great beyond, Al Stevenson, helped between trips in making rough notes from which many of the effects were later re-written.

Cliff Green, anothe,r of Magics truly great exponents and a close friend of Tonys was an interested collaborator and has written up the Thumb-Tipping postscript. Cliffs introduction to this book testifies to his own opinion of Slydinis work.

Slydini worries that many feel his principles are of difficult application. I can assure you that all that is required is good will, reasonable dedication to practice, and faith that you can master the instructions.

This book is the result of Slydinis love for Magic and the love of those who have put it together for Slydinis magic. We trust that you will be rewarded and pleased with our combined efforts.

-LEON NATHANSON, M.D.

EDITORS NOTES THOSE OF us who have had the unadulterated pleasure of witnessing Slydinis performances and have the basic knowledge necessary for true appreciation, know that each of his effects is an epitome of what magical presentations should he.

Slydini is a superb performer not only because he has an inspired imagination and the infinite patience to practice until he can perform automatically -one could say by reflex- but because he is a first class psychologist, a student of human nature. The knowledge he has acquired of how and why people think, feel and react, he has applied to his presentations ; combining that knowledge with split-second timing, he has developed a unique technique which has justly earned him the title of Mr. Misdirection.

Because the basics are so all-important to a performance of his effects, bscause some of our readers may not have the material at hand, and because it bears repeating, we give you a resume of Dr. Jacob Daleys directions for Slydinis The Art of Using the Lap as a Servante (published in 1954) :

1. For natural performance, you should be comfortable and perfectly relaxed. The table and chair which you are to use must suit you. The average performer is usually at ease at a normal dinner or card table and an avelrage four-legged chair. It is only important that both table and chair are not of such construction that either the one or the other will interfere with placing your feet comfortably under the table or with moving them back. Your sitting position must permit you complete freedom of motion backwards and forwards as well as to left and right. Your body should be eight to ten inches away from edge of table.

2. In the action of sitting down, pull a fold of cloth from one leg to overlap the other leg thus forming a small pocket or gutter in your lap from where a lapped object may be easily repossessed. If the table is covered with a long enough cloth, this may do. Or, stretch a handkerchief across your lap.

3. You must remember to synchronize the forward and back- ward movements of your body with the upward and downward movements of your hands. This is of maximum importance.

4. Second in importance is the complete relaxation of hands and body at the end of each series of moves.

5. The strongest misdirection is provided by looking directly at your audience -singular or plural- and not at your hands.

13

6. When your hands are beneath the table performing some secret maneuver, it is of primary importance that your arms and shoulders be immobile. Move the fingers only or, at most, turn your hand at the wrist alone.

FOTO 1 illustrates the starting or rest position. Sit erectly but not stiffly.

FOTO 2: Your body leans forward. At the same time your hand goes up to display the object with which you are performing.

EDITORS NOTES l 14

FOTO 3: Back almost to rest position of foto 1. Note that the only change is that right hand is a little more open and slightly over edge of table.

In the sequence covered by these three fotos, Slydini has displayed an object and dropped it into his lap but his audience believes he still holds it in his hand.

FOTO 4: Your right hand comes up again and your body moves forward as you say to spectators: Watch! pretending to show

15 l EDITORS NOTES

the object supposedly in your hand. Note that, during this sequence (Fotos 2 through 4)) the eyes are always directed at spectator and that position in this foto is identical with foto 2.

FOTO 5: Immediately upon saying Watch! -and simultaneously- turn your left hand up, fingers curled, and put right fingers into it feigning to place therein the object you have previously displayed.

For illustrative purposes, lets say you are performing a coin effect. Summing up fotos 1 through 5:

You start out with a coin, you pick it up and display it; drop the

EDITORS NOTES l 16

hand with the coin momentarily back to original position as you make some preliminary remark and allow coin to drop into your lap; instantly, bring up your right hand saying Watch! and put it into your cupped left hand.

FOTO 6: Turn left hand over, rub its back with open right fingers -or make a magical pass, or sprinkle woofle dust on it. Open left hand . . . the coin has vanished! (Foto 7). Your entire attitude should say: There! Its gone . . . Ive finished.

FOTO 8: To complete the illusion, lean back. As you do so, your hands slide back over table top. Your left hand remains on top of

IT l EDITORS NOTES

table but your right falls to your lap momentarily and onto the lapped coin which it palms. Instantly bring both hands up (Foto 9) and simultaneously make some pertinent remark.

F~TO 10: Drop both hands to table as you say (for instance) Where is it?

FOTO 11: Turn your head to right, then left, keeping hands motionless as you apparently look for the coin.

FOTO 12: Your head turns left and down pursuing its search;

EDITORS NOTES l 18

your right hand comes up and under left side of jacket, produces the vanished coin, and tosses it onto table.

Once more, lean back in rest position. REPEAT: The movement of your hands and body must be perfectly synchronized. The hands move vertically as the body moves horizontally.

Quoting Slydini on some small -but vital- points: a. Going through the motions in the performance of an effect

19 l EDITORS NOTES

and having appropriate patter is not enough. The motions and the patter must be precisely coordinated and timed to the exact psy chological second.

b. Both timing and misdirection are indispensable to a magical performance. You may be able to produce or vanish an object using only one or theother. But, to create an illusion you must combine them perfectly. The effects which appear in this book have been described and illustrated in full detail so that a serious student can achieve this coordination if he sets his mind to it.

c. It has been well said that a magician is an actor playing the part of a magician. A good actor lives his role, believes the part he is playing. If you dont believe a coin has vanished, if your general attitude merely says: See, I fooled you! your audience wont believe you either and youll wind up by antagonizing your spectator (s) . You have a great advantage as a performer: the average spectator wants to believe you. Its up to you not to disappoint him.

d. Gestures, mannerisms, flourishes-a rose by any other name. . . . Used as misdirection or simply to prove your hands are clean, they are very useful and even ornamental. But dont exaggerate. Jean Hugard used to say that public handwashing did not con- stitute entertainment. Waving your hands like windmills merely makes for mistrust but keeping them still for too long a period will make your effect static and uninspiring.

e. When you practice, turn on your radio or TV set-preferably to some program which doesnt interest you or in a language which you do not understand. At first the noise will be distracting but you will gradually get used to it and will then not be thrown out of stride when there is background chatter anywhere you may perform.

f. Practice in front of a mirror but tilt the mirror slightly back at the top by bringing it out at the bottom. The mirror will then reflect back to you the true angle from which your audience will be watch. ing. You will thus know in advance where a move requires additional cover and be prepared to act accordingly.

The Magic of Slydini dealt principally with the art of misdirection and the use of the lap as a servante, usually termed lapping. That book was completely sold out and those fortunate enough to have a copy and who have made use of it to learn bnd apply the art of misdirection should be well on the way to proficiency in close-up magic.

The present volume deals with another phase of close-up magic which, when used in conjunction with lapping, compliments the use of the lap as a servante. This is known as retrieving.

When one disposes of or vanishes an object by dropping it into the lap at the proper moment of misdirection, it is equally important

EDITORS NOTES 20

to retrieve the object as efficiently and as naturally as possible, or the final effect may become rather suspicious and revealing.

When the average close-up magician finds it necessary to retrieve an object from his lap, he very often telegraphs the movement by an unnatural position of body, shoulders, hands-even the position of the fingers. As a result, the audiences suspicions are aroused and there is a feeling that he did something! This often results in a loss of interest -and therefore, impact- in the entire effect.

Slydini, with his usual careful analysis of misdirection and close-up magic, has perfected the art of retrieving with a series of natural movements that allay suspicion.

This well-kept secret is thoroughly explaineld in this book for the first time. Proficiency in the art of retrieving in conjunction with the use of the lap as a servante, plus the art of misdirection -always emphasized by Slydini- should make it possible for the close-up magician to use almost any object at hand, at any time, and become a master at close-up magic.

For many years -and yet in retrospect they seem all too few- I had the great joy of close! association with one of Magicdoms great teachers: Jean Hugard. I should like to add a few of his general suggestions to those of Slydini:

1. Read through the entire effect you intend to master before you so much as attempt the first move. You will then know the direction in which you are going.

2. Have at hand all the necessary objects required just as you would if you were going to perform in public. Dont substitute. The feel of each object is important to the acquisition of familiarity and, therefore, assurance.

3. Go through the entire effect. Dont split it up into segments or you will unconsciously do so in performance. If -after you can go through the entire sequence without referring to the directions- you still have trouble with a particular sleight, practice that sleight until you can do it smoothly beginning always at the previous move and continuing on to the next. You will thus achieve continuity.

In his Secrets of 20th Century Magic, Mr. Hugard said:

The principle of misdirection plays such an important role in Magic that one might almost say that Magic is misdirection and misdirection is Magic. This principle is divided into two parts: mental misdirection and physical misdirection.

Mental misdirection may be defined as the art of misdirecting the minds of the audience from the real cause of the effects that are produced. Physical misdirection denotes the method of diverting the attention of the spectators away from the point at which a certain sleight or move is made.

Slydini has made an exhaustively intensive study of misdirection

21 l EDITORS NOTES

and Dr. Nathanson has worked mightily to put some of it into common language. But it is impossible for a mere human to translate it all into words even with the aid of as many photographs as are included in this book. Slydini has given unstintingly of his time and has patiently and repeatedly gone over every move while I have striven to the best of my ability to capture the elssence of his magic for those who love it as I do and would put it into living motion. But cold type remains inadequate to the task. I once compared the attempt to that of trying to describe Beethovens Pastoral with words. Now that Ive finished editing, I am more emphatic: Trying to put Slydinis magic into words is like trying to illustrate Niagara Falls by bringing home some of its water in a vial.

Dr. Nathanson and I are satisfied that we have done our best. The late Al Stevenson (who helped by taking preliminary rough notes) would also have been satisfied. All three of us, however, remain dissatisfied with the final result. I can only repeat some of Cliff Greens introductory words: If you ever find yourself in mid-Man- hattan, pay a visit to Slydini . . . Ill wager anything he will not only mystify you but entertain you as youve never been entertained before.

To conclude, I should like to quote another well-known magician, Peter Warlock of England:

Though there is, and always will be, only one Slydini, his fabulous feats, herein described . . . can become your own favorite effects. By performing them well, not only will you gain credit for yourself, but at the same time, such performance will allow you to pay homage to a true master of magical art.

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

-BLANCA LOPEZ

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

EDITORS NOTES l 22

--._i

_-..

.

As you lean back, turn your left hand up at the wrist, so object

comes to edge of table where your right hand grasps it as that hand

falls back to rest in original position. (Foto 4; 4A is exposed rear

view.)

Note in the exposed view that thumb and forefinger of right

hand extend downward from edge of table. The fingers should be in

this position when your right hand comes to rest. You must not come to rest and then extend fingers. As you drop your hand, extend the fingers and grasp the object-all in one single, continuous motion.

Immediately, extend your left arm and hand towards left, leaning slightly in that direction (Foto 5) ; look at your empty left hand,

surprised, as if you expected to find it holding something. Now, say

something like: Oh no, its here! and produce the object from

wherever it is convenient to the effect you are demonstrating.

Slydini CCTouches

In performing, it is extremely important that all moves be per-

fectly timed and coordinated.

When Slydini performs the Imp-Pass, it takes exactly 12 seconds

27 l IMP-PASS

from the moment he shows his hands empty to the moment he produces the lapped object.

1: From the moment your right hand comes to rest at edge of table (Foto 2)) keep your eyes on the spectator.

2: Dont try additional patter to that given because words take time, and delay -to the Imp-Pass- is fatal.

3: It is of prime importance that your left hand remain completely stationary from the moment it falls into your lap and onto the lapped object (Foto 2) until you start to lean back after having motioned with right hand (Foto 3)) because it is the motion of leaning back which covers the slight move of turning your left wrist.

It is always good to keep in mind that only when the body moues is the right time to make secret moves. When the body is at rest, any motion will be noticed.

4: When you are going to perform the Imp-Pass and have vanished the object to be later produced, show your empty hands and drop them to rest position. As you drop your hands, shrug and say Thats all!

5: Rest position is really that position into which your hands will drop comfortably and naturally if you just allow them to fall. You must neither bang them down nor slow them up. They must come to rest, naturally, as if exhausted. When this is done properly, your body will also move without your will as a natural result of the fall of the hands.

IMP-PASS 28

5. f$iniS - REVOLVE-VANISH

SLYDINI has another utility move which, on its own, is one of his

sneakiest; combined with the Imp-Pass it has aided and abetted him

for years in bewildering, baffling and ---last but certainly by no

means least- entertaining his audiences wherever he has used it in

his performances. The layman is normally entertained and is there-

fore satisfied with the effect which he knows is accomplished by some

mysterious hand-is-quicker-than-the-eye hocus pocus-the method for

which interests him not at all. The most bewildered are, usually, ma-

gicians who know an impossibility when they see one.

Here, then, is not only the answer to a puzzle but an invaluable

tool for instantaneously vanishing any object which can be displayed

in the palm of your outstretched hand.

The effect, simply stated, doesnt seem startling: Slydini tosses

a coin (say) into his palm, he makes a fist, opens his hand-the coin

has vanished!

Start by placing your left hand palm up at edge of table as in

foto 1: Knuckle of little finger is at edge of table, outstretched fin-

gers point slightly towards right, outside of hand barely touches

table.

Using the knuckle of the little finger as a pivot, turn your hand

over, curve your fingers inwards, and allow your fingertips to come

together on table top (Foto 2).

Dont move the hand. Keep knuck-

le at edge of table. If you raise

it, you will expose the fall of the

object you are lapping.

Keeping your fingers motion-

less and together, start to lean

forward. Allow the forward mo-

tion of your body to push your

arm forward and your fingers to

31

curl inwards from their stationary tips and to form a fist (Foto 3).

The foregoing, of necessity, reads as if it were three separate

moves. For purpose of description this is unavoidable. However, it

is all one continuous motion. Dont complicate it: Display the object you are going to vanish

on your palm, turn the hand over, show the fist. Period.

REVOLVE-VANISH 32

ONE COIN ROUTINE

e.

54 t3 z iniS

ONE COIN ROUTINE

SLYDINIS One Coin Routine possesses all the characteristics of a modern miracle. With fluid motions, he swiftly vanishes a coin and, winged-like, it reappears in the most unexpected places. In his hands, the coin seems to he a thing alive; it is actually seen all the time during the movements of his hands; it vanishes and reappears in different odd places, making one wonder How did it get there?

Slydini does not perform the routine in divided units. He presents it in a single, continuous, flowing phrase from beginning to end. When presented in this manner, it is graceful and fascinating. Even though Slydini performs it without music, one almost senses an underlying musical accompaniment. The ethereal-like capriciousness of the coin is tauntingly humorous.

Slydinis One Coin Routine contradicts the fact that repetition is monotonous. Regardless of how many times you witness its performance, it is always entertaining. In fact, the more it is performed, the more it is appreciated. In the performing arts, this might well be considered its greatest attribute.

The One Coin Routine is an outstanding solo effect. It may also be included in any type of coin routine. When Slydini presents it as a second climax to his multiple coin routine it is virtually a larger, rousing climax

Those who have seen Slydini perform this routine will attest to the fact, that in all conjuring history with one coin, his is the greatest.

Slydini would like the readers of this book, his many students (past and present), and friends to know that the reason he did not reveal his exact method for performing his One Coin Routine before now was because it included his Imp-Pass.

In effect, a single coin goes through a series of impossible

35

gyrations, it vanishes and reappears

in the most unlikely places. As the

effect progresses, the comedy builds

to an explosive climax, to the delight

of the spectators.

To begin, take a coin (50~ or $1)

and toss it into your left palm (Foto

1). Execute the Revolve-Vanish (see

page 31). On a continuing motion,

bring left hand forward, over center of

table and slap hand on table smartly

(Foto 2). Gradually turn palm up to

show coin has vanished. Straighten up

and slap your palms together (Foto 3).

In perfect coordination, drop left hand

into lap as your right hand pretends to

pick a coin from the air (Foto 4). As

you lean to the right, pick up lapped

coin with left hand and exclaim Here

it is . . . Immediately, right hand

crosses to left elbow and left hand to

right elbow (Foto 5). Coin at left

ONE COIN ROUTINE l 36

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

37 ONE COIN ROUTINE

up right hand, fingertips together as if

holding the coin (Foto 8). Looking at spectator -not at your fingertips- say Look! and instantly make the

next move. You can now repeat the

same moves (Fotos 5 through 8) two

or three times. Finally, flip the coin over from left

fingertips to left center palm and wind

up as in foto 1.

Perform Revolve-Vanish (page 31). Your left hand -apparently holding

the coin- goes in a continuous motion forward and about a foot above center

of table; lean over and peek into under-

side of hand (Foto 9). Open your hand, shake. your head, spread your

arms with hands palm up (Foto 10). The coin has vanished!

Now, slap your hands together (coin is in your lap) and once more do the

moves described for fotos 4 through 6. Perform the Revolve-Vanish and,

ONE COIN ROUTINE l 38 d

time, as your right hand starts towards

center of table, your left moves to your lap, palm up, ready to receive the

coin which your right hand will re-

lease in its journey to table center. Foto 13 is an exposed view after the

drop is completed. This pass and drop must be per-

fectly timed and coordinated. You must practice until your left hand ar-

rives naturally and smoothly at your

lap at the precise instant prior to the coin being released by your right fingers on passing in a continuous, even,

motion from your left lapel to table center.

This time, produce coin from right

lapel. Follow up with same flourish from right lapel to center of table as described for fotos 11 and 12 and

repeat Imp-Pass and production from left lapel.

ONE COIN ROUTINE 40

Leaning towards right, then back, toss the coin smartly from your right fingers into your flat left palm (Foto 14). Between tosses, rest your right hand lightly at edge of table (Foto 15) displaying the coin on left palm. Each time your left palm receives the coin, close and open its fingers quickly. This is the feint which you may repeat two or three times.

Now, for the real thing: Take the coin at the edge with the balls of the thumb, middle and ring fingers (Fotos 16 and 16A) as if to continue tossing. As your right hand swings back, release the coin at the point where your moving hand passes the table edge (Foto 17) in its swing back. Foto 18 is the end of the swing and is an exposed view showing coin no longer in your hand. Naturally, in performing, your hand should be turned towards you-not audience.

41 ONE COIN ROUTINE

Practice this swing which begins with foto 16 until there is absolutely no hesitation between your pick-up of the coin and the raising of your right hand as if to toss the coin. Notice that position of hands and body as well as facial expression and direction of gaze are all practically identical in fotos 14 and 18.

You now synchronize both hands, bring them together and face center as you put the coin from right into left hand (Foto 19) and make a fist. Turn your closed left hand over and rub its back lightly (Foto 20) or make any other slight gesture you may prefer, then open the hand to show coin has vanished.

Show your hands are clean and perform the Imp-Pass. Produce the coin from anywhere you please.

Toss the coin from right into left hand, held directly before you and

ONE COIN ROUTINE 42

over table (Foto 21) and say youll pass it through your hand.

Pretend to take the coin from your left palm (same moves described for

foto 7) with your right fingers, turn the left hand over, fingers loosely

curled ; with right fingers bunched as if holding coin, tap back of left fist.

Open fist (Foto 22) and coin drops through!

Close your left hand into a fist as if to repeat (Foto 23). Your right

hand drops, fingers outstretched, over

coin as if to pick it up. In the motion, sweep the coin off edge of table into your lap and bunch right fingers as if

holding coin. Tap back of left fist with

bunched right fingers. Open left hand. Coin has vanished!

This ends the routine. If you have

borrowed the coin, do the Imp-Pass and return it. If the coin is yours,

produce it or not as you prefer.

43 l ONE COIN ROUTINE

Slydini CT-ouches

REFER TO FOTO 8: In feigning to take coin from left hand, keep right fingers hunched together and, as you show the coin keep your hand fairly close to you. Practice this hold in front of a mirror with the coin actually in your hand. When properly done, the coin is not visible. The misdirection consists of directing your eyes at the spectator at the exact moment when you raise your right hand (supposedly) holding the coin and say Look! Natu- rally, spectator will look at you. By the time his eyes revert to your right hand, that hand is no longer there but he will swear he saw the coin held by your right fingers.

REFER TO FOTO 11: When you are about to release the coin in going from your lapel to center of table, keep your hand up but pass close to edge of table. Dont hesitate. As your hand gets to edge of table just release the coin and continue to center. Consult foto 17: If you use the middle, ring and little fingertips as guides (thumb and forefinger holding coin) to brush table top, there can be no flash as the coin drops. Keep your fingers together until hand stops.

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

PATTER: Use only short phrases, such as look, watch, here it is, oh no, its here, and . . . if. . . its . . . not . . . here . . . its . . . there . . . between moves. This is very important. If you say more, you lose the rhythm and will be forced to hold up the action for the words; instead of a routine you will have a series of vanishes.

When you perform the routine using just some such short phrases as those given, the entire effect flows like a digital ballet which will delight the eyes and entertain the mind. One move merges into the next with your patter serving as counterpoint.

ONE COIN ROUTINE l b%

PREDICTION IN RED

3 b z iniS PREDI CTION; IN RED

THIS BEAUTIFUL and astounding effect has baffled top magicians and laymen for many years. All who witness this are completely mysti- fied and the effect gains in amazement with repetition.

Slydini borrows a deck of cards and requests that they be shuffled by a spectator. After this is done, Slydini shuffles the pack himself, then hesitates and remarks: Ill bet you think I have set the cards in some arrangement. . . Shuffle them again. Slydini continues: Place the deck face down on the table; I wont touch the deck. All I want you to do is to take about six or ten or fifteen cards from the top of the deck, and place them face down in my hand.

Slydini takes the packet of cards, looks at the spectator and says: Ill bet you wont believe I know how many red cards are in this packet . . . The spectator usually says No. Slydini feels the cards, looks at the spectator and states: I have here five red cards -not four, not six- there must be five! And he says this in a very positive manner.

Slydini slowly fans the cards, faces towards himself, squares up the packet and places it face down on his palm. He then turns the packet face up and slowly, one by one, deals out the cards onto the table-full faces showing, black cards to one side, showing each card to be a single card and counting the red cards aloud as he deals them out. When all the cards have been shown, Slydinis statement proves correct: There are five red cards on the table!

Slydini then says: I know it is hard to believe, so please give me another small packet of cards. Again, he correctly foretells the number of red cards in the packet. If the spectator so desires, Slydini goes on until the end of the pack and requests the spectator to handle the cards if he has any doubts.

PREPARATION, METHOD AND PRESENTATION : Before beginning this effect, contrive to remove a couple of red cards from the pack and drop them into your lap. Hand the pack to a spectator to shuffle and, when he has done so, you shuffle the pack. Then inquire: Do you think I have made some arrangement of the pack? . . . Please shuffle again. Shuffle well because if, when I ask you to give me some cards, they are all red or all black, well have to start all over.

slowly, but keep the last two tightly together as in a double lift. This will build suspense as, slowly and deliberately, you separate the last two cards to show that you have predicted correctly.

If you have one or two cards over the amount stated, put them at the back of the packet and close the fan allowing the red cards to protrude about half an inch. Do this with hands resting at edge of table.

Now, with thumb and first finger of right hand, pinch the packet of cards together at a forward corner preparatory to turning the entire packet over (Foto 3; foto 3A is performers view). Your left hand can do this by sliding over the faces of the cards to turn the packet (Foto 4) ; this enables your right thumb and palm to clip the extra red cards at the edge (Fotos 5 and 5A) in the Slydini back palm. The right hand remains ,stationary as the left rnoves to the left and you lean towards the left to look at the cards which you riffle with your thumb at upper left corner. Meanwhile, right hand rests momentarily at edge of table (Foto 6), releases the clipped cards without 49 PREDICTION IN RED

moving the fingers, and immediately swings toward center of table (Foto 7).

To count, square the packet with both hands (Foto 8)) turn it face up and proceed as above described.

If you find only one or two red cards in the packet handed you, hide them behind the black ones, spread the cards deliberately and loosely between your hands (Foto 9) and say, Now, you see? All black cards . . . I told you to shuffle well . . . This doesnt count . . . Lets start again. Immediately close the cards, drop them on top of the deck and say: Shuffle once more.

When you are handed a packet which is short of your prediction by one or two red cards, perform the Imp- Pass as follows:

After inspecting the cards (Foto 2)) square them up, drop the packet face down on the table, to your left, and say; Cut them (Foto 10).

As you drop the packet on the table from your right hand, your left falls

PREDICTION IN RED l 50

naturally into your lap-onto the lapped cards; now, bring your right momentarily to rest position at edge of table (Foto 11).

Having dropped the packet, raise your right hand in an invitation to Cut the cards.. . Go ahead, cut them! (Foto 12). This extra motion and patter gives your left hand the time necessary to pick up and up-end the lapped cards in order to put them in the position illustrated in foto 13.

After gesturing, your right hand drops to rest position at edge of table, with thumb and forefinger extending downward (Foto 14).

When you turn the cards up in your left hand, dont mozle your arm: turn your left wrist slightly and raise the cards with its fingers. In picking them up with right forefinger and thumb, your right hand must remain stationary at edge of table (Fotos 15 and 15A).

If your right fingers cannot reach the cards, dont lift your left hand: bring it closer to right by raising your left knee from your toes-or even off the floor if necessary.

Position the cards into your right hand ready for the Slydini back palm

51 l PREDICTION IN RED

(Foto 5A) e This is accomplished when left fingers -aided by left knee, if necessary -lift the cards into right hand as shown in fotos 15 and 15A. Note that right hand is perfectly posi- tioned. Raise the cards and your right hand clips them between joint of thumb and center of palm.

As soon as spectator cuts the packet, your right hand (with the palmed cards) goes over right portion of packet and completes the cut. In this action, the palmed cards are added to the top of the packet. You can now proceed to count the red cards openly.

1. Make sure the cards are well shuffled. Too many reds or blacks together will make your task difficult. So, you shuffle the pack thoroughly. Then, give to spectator to shuffle.

2. Talk slowly, as if in doubt. Let your facial expressions give your audience the impression that you feel you just might make a mistake.

3. Choose a spectator towards your left. This will prevent anyone from catching a flash of the palmed cards.

PREDICTION IN RED * 52

CAPRICIOUS CORNUCOPIA

5 7 $b 5 id

CAPRICIOUS CORNUCOPIA ONE PICTURE is worth a thousand words. . .Descrihe a spiral

without using your hands. . . There is nothing like trying to put

Slydinis magic into words for appreciating the truth of both those

old phrases. However, using enough words it could be done if one really set ones mind on it-and had the time and the inclination.

Whether even the most serious and dedicated student would wade

through the directions is something else again. So, thank God for

Monsieur Daguerre and his invention and for all the improvements

which have followed since the Paris Operas scenarist captured and

fixed light and shadows on a silver plate. If it werent for the pictures,

the description of this effect would never even have been attempted.

EFFECT: Slydini shows a magazine cover front and back, makes a

cone, shows the empty cone and produces a rubber ball from it.

PREPARATION: Buy a solid rubber ball to fit comfortably in your

hand. Insert a needle threaded with nylon fish line, just below crest

of ball, for about one inch. Pull line through and tie it securely to

55

form a loop just large enough so that

ball reaches center of your palm when it hangs from your thumb (Foto 1).

It is important that the line should have a least an inch of length through

the ball. If this base of loop is smaller,

the ball will twist and turn making manipulation difficult. After tying,

pull the knot into the ball so loop is completely smooth.

Place the ball on your work table

in such a way that nylon loop will stick up and be clear of other objects.

Obtain a sheet of firm, opaque colored

paper (such as that used by artists) or a magazine cover approximately

10 x 12 inches and put it on your table

next to the ball. As you pick up the paper, contrive to insert your thumb

in the loop of the ball in the same

motion (or do it your way). The ball hangs from your thumb throughout

the whole effect. You are now set for PERFORMANCE: Face your audience and display the sheet of paper in the

manner shown in foto 2. The ball hangs from your right thumb com-

CAPRICIOUS. CORNUCOPIA 56

pletely covered by the paper. Note

that both hands convey the assurance that they hold nothing but the paper.

As you patter, move forefingers so that both are be&d the sheet clipping

it with aid of middle fingers (Foto 3). Start to turn slightly towards left.

At the same time, raise lower edge

of paper and drop top edge simultaneously opening your right hand (Foto 4; foto 4A is exposed view at this

point). The open hand hides the ball

completely but is very convincingly empty.

Reverse the action just described for a repeat until you are again in

position shown in foto 2. It is im-

portant that you keep your right thumb up in coming back up and your hand

flatly open so that the ball will not flash nor be caught by edge of paper.

As soon as you bring lower edge of paper back to top position, lower your

thumb and clip the paper between

thumb and forefinger. Slip right forefinger behind top

edge of sheet and bend sheet slightly

57 CAPRICIOUS CORNUCOPIA

corner close to right fingers. Clip corner of paper between thumb

and side of forefinger (Foto 9). AS soon as right fingers grasp the paper, move your left hand to grasp paper at diagonally opposite corner (Foto 10).

Bring lower corner up and around right hand (and ball). Meanwhile move right hand back in front of chest as your body also turns full front. These are not three separate motions but three parts of one continuous action. You should now be in position illustrated in foto 11. Your right hand should be holding ball and paper against your chest as your left hand continues to pull edge of paper up and around to form a cone (Foto 12).

Your left hand curls around bottom of cone and starts to turn and tighten .it. Meantime, your right thumb and forefinger move to edge of cone to help in its formation. The ball hangs from thumb and is hidden by cone (Fotos 13 and 14). When peak of cone is at left, stop adjusting cone, bring right hand out as in foto 15.

Keeping your right hand stationary

59 CAPRICIOUS CORNUCOPIA

in that position, pull the cone down and out towards left with your left hand and your right hand points to empty cone (Foto 16).

Bring cone, mouth up, again and smooth its outside surface from the bottom up with your right hand so that as your hand starts downward once more the dangling ball will hang in the cone as in foto 15. You can now repeat the motions and moves described for fotos 14 through 16.

From pointing to empty cone, move right hand and rest its edge on top of left hand (Foto 17). Note that there is no opening between edge of right hand and back of left.

Lower your right thumb so that it rests for all its length on top of left hand and ball dangles behind your left wrist. As soon as ball is covered, turn your right hand so that all can see it is empty and make motions as if smoothing the side of the cone with your forefinger (Foto 18).

The moves described for fotos 16 through 18 should be one continuous motion.

Reverse the motions thus: Bring the edge of your right hand back against your left, lift the right thumb and -simultaneously- point with your right forefinger to empty cone which left hand lowers and points mouth towards audience (Foto 16).

Once again, bring right hand over to smooth cone (from the bottom up) as left lifts it mouth up (Foto 15).

This time release the ball so it falls into the cone, and make a couple of turns of the cone with both hands. Finally, tip cone mouth down and produce the hitherto non-existent ball (Foto 19).

CAPRICIOUS CORNUCOPIA l 60

Foot Note

MOST PERFORMERS, preoccupied with hand manipulations (and this is particularly true when they are doing effects with such items as

cards, cigarettes and billiard balls), forget that their feet play an im-

portant role in their presentations. The tendency is to practically turn

their backs on the audience until they are almost face to face with the

back drop.

For Slydinis Capricious Cornucopia it is imperative that you

coordinate the movements of your feet with the movements of your

body.

Foto 1 shows normal stance for beginning: Your weight distrib-

uted evenly on both feet and facing your audience.

When you find it necessary to turn either to left or right, dont

move your feet first! As your body turns in either direction, the cor-

responding foot will follow; then, and only then, move that foot out

in the desired direction and at a slight angle (Foto 2).

To turn to the other side, turn your body in the new direction,

bring the angled foot back to original position, continue the turn with

61 l CAPRICIOUS CORNUCOPIA

your body, and then follow up with your other foot just as you did before.

If you are not to stand stiffly in one position, move around a little while performing thus: Step back or forward, to right or left, but always maintain the relative position of your feet; that is, center, left, center, right; center, forward, center, back; etc. You can practice in rhythm by counting 1, 2, 3, 4, as you lift and then put down first one foot, then the other. Dont drag or slide your feet. Make your steps short but natural and smooth.

All of the foregoing dissertation is to keep you from making the same faux pas of which too many performers stand accused: Because they feel guilty, or are unsure of their angles, or are self-conscious, or for any other reason, their toes start to creep and their arms and body turn until they have almost entirely faced stage rear. So, make sure to maintain your poise by keeping your feet in the position of foto 2.

The foregoing directions apply to practically any stage or plat- form effect where it is important that you be careful of your angles. Remember that if you stand stiffly facing forward, your position will be ungraceful, you will lose your personality and it will cause your manipulations to look awkward.

CAPRICIOUS. CORNUCOPIA l 62

UING the same principle --ball with loop-- lxtt a ho~&x~ haI& you

can do a production of salt, sugar or liquid from the empty cone.

How?

PKEPARATION: Buy, hrrow or steal a hollow rdher bail. Loop it in

the same manrler described above. At the end of ball opposite to loop,

make an inch-long slit with a razor blade. (Fete shows slit forced

open 1)~ syueezin g sides of ball.) Fill the lralh with salt, sugar or any

liquid.

Proceed to make a paper cone as above descril,ed until you arrive

at the point where hall is hanging inside cone (Foto 15).

ball and turn the cone a couple of times. Now --instead of produc-

ing the ball- squeeze it from outside the cone, releasing the contents

and allowing them to flow through bottom of cone.

NOTE: If when you first squeeze the hall, the contents are not re-

leased, give the cone a slight turn and squeeze again. The slit will

not open up unless you squeeze it at tire ends.

63 l CAPI

BALL VANISH IN THE HANDS

5 $b s hi BALL VANISH IN THE HANDS

LIKE SLYDINIS Capricious Cornucopia (page 55)) his Ball Van- ish in the Hands is also impossible to describe without pictures. Even so, only moving pictures can begin to do either effect justice. These are fluid effects. They require smooth motion to bring them to life. Read the effect through, study the photographs carefully and, then, read the effect through again before even attempting to begin practice.

The effect, like all of Syldinis, is deceptively simple in the tell- ing: Slydini displays a rubber ball with one hand, puts it into his other hand . . . Poof! The ball vanishes! The ball appears, vanishes, and reappears in varied ways and, always, Slydinis hands are visible . . . magically empty after each vanish of the ball. PREPARATION: This is the same as for Ball and Cone.

As you introduce this effect, pick up the ball contriving to slip your thumb inside loop without exposing it. METHOD AND PRESENTATION: Display the ball at your finger tips. Turn towards left and show left hand empty back and front (Foto 1).

Bang the ball noisily into your left palm (Foto 2). As J-ou do

this, open right fingers and allow the ball to hang from thumb.

Be careful to keep your right thumb up throughout routine -not

stiffly but naturally- to prevent ball from flashing under lower edge

of palm.

As soon as you slap ball into left palm, turn left hand pretending

BALL VANISH IN THE HANDS l 68

it holds ball and bring right hand open to rest in front of your chest

(Foto 3).

Wiggle left fingers as if kneading the ball, then turn it up to show

ball has vanished (Foto 4).

Join your hands in a praying gesture (Foto 5) and, holding this

position, swing your arms and body to your right (Foto 6).

69 l B&IL SANK,, IN TITE HANDS

Palming the ball in your ieft hand and aided by left thumb, lift

the ball oiler base of right thumb (Foto 7) dropping it behind right

hand and bringing hands back to position of foto 6.

Curl your left fingers as if they hold the ball (Foto 8) ; keeping

right hand stationary, open palm towards audience, bring your

BALI. VANISH IN THE HANDS 70

closed left hand towards left. Follow your left hand with your eyes

as your body also turns full center.

In the meantime, your right hand moves away towards right, and

your left makes kneading motions as if squeezing the ball with its

fingers. Finally open your left hand to show that the ball has again

vanished (Foto 9).

71 l BALL VANISH IN THE HANDS

From this position turn both hands over abruptly and in unison

to arrive at position illustrated in foto 10.

(Inset in foto 9 is exposed view showing how ball travels over

base of thumb from back of hand to palm. See Slydini Touches

on page 76.)

Now :

1. Bring right hand over left as in foto 11;


2. Lower right thumb and turn right palm out (Foto 12) ;

3. Reverse this move by turning right hand back out and raising

thumb so that your hands return to position in foto 11;

4. Turn left hand palm out (Foto 13) by revolving it outward;

73 l BALI. VANISH IN THE IiANDS

5. Drop right thumb (so ball hangs behind left hand) and turn

right palm out (Foto 14) ;

6. Turn right hand back out, lift right thumb, and revolve left

hand in until you return to position in foto 11.

You can repeat the moves described in paragraphs 1 through 6

as many times as you think your audience would enjoy it.


-..

Continuing from position in foto 11 and keeping right hand sta-

tionary, revolve open left hand around right (Fotos 15 and 16) thus:

Bring left hand down, behind, and then over right hand. Start to

make a second revolution but, instead of continuing, bring both hands

together palm to palm and then cup them around ball (Foto 17).

Blow into your cupped hands and, keeping your thumbs to-

% l BALL VANISH IN THE HANDS

gether, part them at the outer edges to show ball materialized between them (Foto 18).

Slydini cc Touches

1. When you pick up the ball at beginning of routine, your thumb slips into loop. Make sure that your fingers hold the ball firmly. If it slips and hangs from loop your effect is dead. For the same reason, keep your distance so that loop wont be visible to spectators.

2. Refer to fotos 9 and 10. This is the most critical moue of the entire routine. It must be done very fast and in perfect coordination or the ball will be seen. From position in foto 9, both hands simultaneously and suddenly curl inwards and then straighten out traveling towards center (Foto 10).

The ball cannot be seen because the curled fingers act as a shield. The inserted foto A is a side view showing ball traveling over outer base of thumb and behind curved fingers. Dont start ball over until you have curled the fingers.

This move must be practiced until it is mastered perfectly. A split second of time and ball will become visible.

3. Fotos 10, 11, 12: Keep your hands close together throughout this sequence. A slight opening and ball will flash.

4. In describing this sequence, we have numbered the different moves (l-6). This was deemed desirable for the sake of clarity. However, it should be performed in smooth, continuous motion.

BALL VANISH IN THE HANDS 76

PURSE OF ALADDIN

3 b z iniS PURSE OF ALADDIN

SLYDINI USES the metallic frame of a simple coin purse (without the

pouch) as a delightful touch for many standard routines. Any object that can pass through the opened frame (coins, cigarettes, forks, etc.) may be used for both productions and vanishes. Slydini presents many amusingly incidental bits of business with the use of this piece of apparatus.

No sleights are used, yet an unlimited number of humorously magical appearances and vanishes can be accomplished. It is the ultimate opener and attention-getter for close-up magic with small

objects. When you consider the almost limitless number of small, common objects used in the performance of intimate magic, it encompasses a wide field.

Many original ideas will occur to you when you understand the underlying principle. Since the entre for this conceit is always the same, you will not have to devote hours of practice for performing. Extremely subtle and very provocative, it encompasses one principle applicable to a great number of effects. Because of its sim- plicity and the fact that no concentration on your part is involved, it will allow you to present these peregrinations leisurely and abstract- edly as though they were a most natural occurence.

Slydini, as usual, starts with visibly empty hands and they remain so right up to the actual production.

The object or objects to be produced are already in your lap. Remove the frame from your pocket. Before starting, Slydini states, I will show you a beautiful thing.

Ask: Do you know what this is? . . . Do you see a bag? . . . Only the front? . . . You dont see any bag ? As you patter, turn the

79

frame this way and that, which gives

you an opportunity to let everyone see

your hands are empty (Foto 1).

When you are answered, lean back,

bringing your arms almost against

your chest, your hands directly above

your lap and clear of table (Foto 2).

Both hands hold frame.

Sit straight up. Bring your right

hand up toward your right ear (Foto

3) and shake the frame as you ask:

DO you hear anything? Keep your

left hand stationary. Lean across the

table and say to a spectator: Lis-

ten! while shaking the frame close to

his ear.

The coordination here is important:

When you say, listen, your body

leans forward following your arm to-

wards spectator. At the same time,

your left hand falls naturally into your

lap (and onto lapped object), as in

foto 4.

Whether spectator answers or not,

lean back saying: Never mind . . .

there must be something here . . . and

transfer purse to left hand, holding it

between base of thumb and tips of

middle and fore-fingers (Foto 5).

This position effectively conceals

the load you have picked up from your

lap and which is held by the ring and

little fingers of your left hand just

below the frame.

Open the frame, reach into it and

produce your load.

For purposes of illustration, lets

PURSE OF ALADDIN l 80

say your load consists of sponge balls.

Produce two sponge balls, one at a

time, and put them on the table. Close

the frame and start to put it into a right

pocket. As your hand moves to your

pocket, your body follows it and your

eyes look towards right and down. At

the same time, your left hand falls

back into your lap and picks up an-

other sponge (Foto 6).

Immediately, change your mind.

Exclaming, Now wait a minute . . .

I must have another one . . . bring

frame back up again with both hands

(as in foto 5)) reach in, produce a

third sponge and put it on the table.

Close the frame and put it on the table

to your right.

Line up the three sponges on the

table before you and allow your hands

to rest naturally at tables edge.

Ask, How many sponges do we

have here? As soon as you are an-

swered, pretend youve made a mis-

take. Immediately, pick up the frame

and put it into your left hand as in foto

5 but, this time, rest the bottom edge of your left hand at edge of table. Pick

up one of the sponges with your right

hand saying: All I need is two . . .

and put it into the open frame. The

sponge will drop into your lap, its fall

covered by your left hand resting at

table edge.

As soon as the sponge drops, close

the frame and put it back on the table

well towards your right.

81 l PURSE OF ALADDIN

You can now proceed with the standard sponge ball routine or whichever you prefer.

When you want to produce an object, take the frame from the table or your pocket and proceed as described for fotos 1 through 5.

If you wgnt to vanish an object, take the frame, open it and put

the object into it as described above. 0 0 l

As a gag, when you vanish an object and after saying, I dont need this, close the frame, and start to put it in your pocket (as described for foto 6). Then, change your mind abruptly saying Oh, I do need it! and produce it again (bringing purse up with both

hands as described for foto 5).

NOTE: Purse frame should be of such a size as to fit comfortably between the base of your thumb and the top phalanx of your curled fingers while still allowing you to keep your fingers close together.

PURSE OF ALADDIN l 82

LONG AND SHORT OF IT

5 Yb i!T iniS LONG AND SHORT OF IT

WHILE PLAYING with Hen Fetschs The Professors Nightmare,

Slydini decided that it would enhance the original effect if the per-

former were able to start out with a single length of rope. The

audience, naturally, knows you are going to do a rope trick-hut

what kind? A certain amount of suspense is created. Besides, the

Nightmare could then he performed as an excellent follow-up at

the conclusion of any effect where a length of rope remains in the

performers hands.

You begin with a 5-foot (approximately) length of rope held

between thumbs, fore and middle fingers of each hand about an inch

from each protrudin g end. Bring protrudin g end of rope in right

hand over to left fingers (Foto 1). Grasp this right end with tips

of left fingers as right fingers grasp left end (Foto 2).

YOU are going to pull on the ends of the rope to arrange it into

three even parts. In order to keep the rope from escaping your fingers,

as you grasp each end from the opposite hand, contrive to get the

85

rope well between each middle and forefinger. As you pull the ends of

the rope, turn towards the right and raise your right hand while you lower

the left. The result will be that you

wind up as in foto 3. Release the bottom end and allow

the rope to hang free in this arrangement from your right hand. Insert

middle finger of left hand between first and center portions of hanging

rope; forefinger goes behind center part. Foto 4 shows exact position. Note

that end of rope is in front of loop.

At this point, clip rope securely but

loosely between thumb. and middle finger of left band. Upper loop lies

between fore and middle fingers of right hand with end held in front of

loop between thumb and tip of fore-

finger as in foto 5.

It is very important that you get the position of the fingers just right

because the next move depends on the

rope falling into exact position:

With rope clipped by left hand as above described, release top loop

while keeping end between thumb and forefinger tips (Foto 6). Note that loop

falls of its own accord, towards right, between tips of left forefinger and

thumb.

As you patter, release end of rope

from right hand to gesture. With right fingers, pick up back portion of rope

which is the continuation of the end in

view (Foto 7) and which lies between left fore and middle fingers. Bring

up the loop thus formed making it even with the protruding end.

LONG AND SHORT OF IT . 86

Now, cut through top and hanging

loops and the appearance is that you have cut the rope into three equal

lengths. To prove you not only have cut

the rope but have three pieces of equal length you separate and count

them. Make sure that the single piece is

first in order from your fingers and that the two interlooped pieces are on

the inside.

Take the single piece and draw it

out (Foto 8) moving hands apart for its full length. Let left end drop free.

As soon as end falls, lift thumb of left hand free of palm and open fingers

of right hand displaying the piece of

rope held between thumb and forefinger.

Now, bring rope from right hand

over to left. As you slide right hand piece into crotch of left thumb, your

open fore and middle fingers clip the two protruding ends (Foto 9). Imme-

diately pull at these ends using the

same motions as you did for pulling

the single rope. Let one end of the iong rope fall as if it were the original piece (properly done this is the ap-

pearance) as you stretch the other portion to its (seemingly) full length

(Foto 10). Dont pick up the third piece. Just hold it up and display

it (Foto 11).

Bring right hand over to left. As

you turn a little towards left, pull the ends up slightly and drape the rope(s) from your right hand over your open

left and next to the single piece (Foto

87 l LONG AND SHORT OF IT

12). The short, looped piece hangs

covered by your open hand.

Pick up the three hanging ends,

put them into your hand next to

the top three and close your hand.

Pull at one end and slide a piece

free; tug at another end, pull a

second piece and then the third

piece free. Display the three dif-

ferent pieces.

You may now perform Hen

Fetchs The Professors Night-

mare.

Slydirii cc l-ouches REFER TO FOTO 5: Dont exert any pressure with your thumb or pro-

truding end of rope will fall for-

ward. Hold rope loosely but se-

curely.

FOTO 8: When pulling the ropes to count and separate them,

move both hands apart in unison

and on the same plane. As the end

of the first piece drops and swings

free, follow up the rhythm of the

swinging rope so that you pick up

the two looped pieces on the up-

swing and thus create the illusion

that the piece now hanging has re-

turned from its leftward swing.

FOTO 9: The switch of the single piece for the looped ones must be

made in one continuous smooth mo-

tion. Dont leave the one and pick

up the other. Slide the single piece

into thumb crotch while open fore

LONG AND SHORT OF IT l 88

and middle fingers clip the looped

pieces between.

FOTO 10: If you will allow one end

of the looped piece to drop, and slide the other portions through

your left fingers, the illusion cre-

ated will be perfect: The first piece

is still in your right hand and you

are drawing the second one out of

your left to join the first.

When you have finished the

usual presentation say: Just so

youll know theres nothing wrong

with the rope, heres a souvenir. . .

Take an end from your hand, pull

the short piece free, throw it to

a spectator. Do the same with the

remaining two pieces. Your au-

dience will satisfy themselves that

the rope youve been using has

no strings, no magnets, no trap

doors . . .

89 l LONG AND SHORT OF I T

WRONG WAY COINS

3 29 IT ini$ WRONG WAY COINS

SLYpIN SPREADS six silver dollars in front of him on a table. He picks up three of the coins, deliberately and openly, one at a time, with the right hand and the other three with his left. You actually see the coins in each hand. Making a loose fist he jingles the three coins in one hand and asks a spectator to say by the jingle how many coins are in that hand. He repeats with the other hand. Both hands are in full view and lifted away and above the table. When spectator has firmly stated that there are three coins in each hand -and he can still see them- Slydini slaps one fist on the table and the other against the underside. He lifts both hands clear of the table and leans back. All six coins are now on top of the table!

Before presenting the Wrong Way Coins, Slydini advises the spectator that he will ask him to reach his hand under the table. But, adds Slydini, when I ask for your hand, reach towards my hand immediately . . .

METHOD AND PRESENTATION: Start out by displaying the six half dollars in a left-to-right row on the table. Starting with the two outside coins, pick them up and slide them onto the next one, working toward the center simultaneously with both hands. Now, grasp the coins together edgewise between thumb and middle finger of each hand and hold them up for all to see (Foto 1).

Slydini asks: Do you think it is possible by just doing this [he closes both hands into a fist allowing the coins to jingle and makes a throwing motion with both fists towards each other] that I can have accomplished anything?

The reason for this feint is to implant a suspicion in the minds of the spectators that he has made a switch. After the feint, Slydini rests both hands at edge of table.

Regardless of the answer, Slydini states: It doesnt matter what you think . . . I cannot show you the coins anymore but, by the jingle, you should be able to tell how many coins are in my right hand . . . Listen . . .

93

Slydini leans toward spectator and lifts right fist holding coins towards

his victim (Foto 2). How many coins do I have here . . . Listen. . . Again,

How many did you say? Slydini asks anew and jingles the coins in his right fist. Satisfied, at last, he says

O.K. and allows his hand to rest on

the table. Now, with his right hand still on

the table, Slydini turns his body towards the left, stretches his left arm (Foto 3)) coins held loosely in fist and

flashing through thumb opening as he jingles them and asks Three? . . .

O.K. Slydini rests both hands at edge of table as he waits for assent.

Ill do it once more and Ill fool

you. Watch! Repeat the jingling with right hand

but this time dont rest right hand at edge of table but keep it up with el-

WRONG WAY COINS 94

bow at edge of table (Foto 4). Now, repeat jingle and question with left hand.

Position of right arm and fist is

critical. Study foto 4. Fist is two to three inches above edge of table.

You are now in position to execute the Imp-Pass (Foto 4A is exposed

view of pick up) which you now proceed to do as you request:

Give me your hand under the table . . . Here. . . Here. . .

As you say this, lean right side of

body against right hand (Foto 5) and reach with left under table. Immedi-

ately (with coins already in it) make a motion with right hand, asking spectator to Come here . . . come here . . . (Foto 6). As soon as spectator reaches over, spread all six coins smartly on top of the table. They have

penetrated up!

95 WRONG WAY COINS

When you patter asking How many? . . . What did you say? . . . Three?. . . while jingling the coins, repeat these thoughts in

different ways. This keeps the spectator on the qui-vive but con-

fusedly so as he does not know what to expect. On the other hand, the patter and the motions it allows you serve as misdirection and cover.

EDITORS NOTE: The same effect but without performing the Imp-

Pass was published in the Society of American Magicians M-U-M

in its May, 1958 issue under the title of The Psychological Coin Routine. This is an excellent alternative for acceding to the in-

evitable request: Do it again, please?

WRONG WAY COINS l 96

SWEET SALT

5 Pb z ids SWEET SALT

No HIGHER TRIBUTE can be paid this Slydini creation than by quoting his own remark: This is my favorite close-up trick.

THE EFFECT: Slydini pours salt from a salt shaker into his left palm. He makes a fist and holds it over a spectators hand preparatory to allowing the salt to cascade down. However, when Slydini opens his left hand, the salt has vanished. Reaching with his empty right hand, Slydini captures the salt out of the air and allows it to run down in a stream onto spectators hand. Several spectators are asked to taste -to make sure it is salt. It is. When asked to taste again-to be very sure, it has changed to sugar!

PREPARATION: The only necessary piece of equipment is a small tube the size of a cigarette and tinted flesh color. One end of the tube is sealed off, the other is open. Fill the tube with sugar. To prevent the sugar from spilling, cover the open end. While seated at a table, drape a napkin, handkerchief or the edge of the table cloth across your lap. When ready to present the effect, take the sugar tube (un- covered) from your pocket and place it on the napkin on your lap and between your thighs with the open end up and resting against left thigh. (F or the sake of clarity, foto 1 shows position without

napkin or handkerchief.) Rest both

hands in a relaxed manner on top of the table (Foto 2).

PERFORMANCE: Ask one of the spectators seated at the table to hand you

the salt shaker. Take it and, holding it in your left hand, remove the cap

with your right and put in on the table. Pass the shaker to your right hand

and hold it out to two or three of those

seated around the table, saying: Smell ! This is just in the way of

a joke to get started. Pour some salt

from the shaker into your left hand (Foto 3). The amount should be ap-

proximately the same as the sugar contained by the lapped tube. As your

right hand moves forward to put shaker

down towards center of table (Foto 4)) perform the Revolve-Vanish (page

31). Without pausing, raise your left hand closed into a fist and with your

right hand extended in open invitation

(Foto 5) to the spectator seated at

SWEET SALT l 100

your left, say: Give me your hand.

As your right hand places the salt shaker on the table (Foto 4)) follow it

with your body, face and eyes. Your

actions will entice the spectators attention drawing it away from your left

hand. The synchronization must be

such that, by the time your right hand releases the salt shaker, your left fist

should have started to come up. Be careful during the Revolve-Van-

ish that the outer edge of your left

palm remains in contact with the table; this will ensure that the spectator seat-

ed at your left will not catch a flash

under your left hand. One other slight item: Dont curl

your left thumb around the fingers;

let it project (Foto 6). During the Revolve-Vanish, the salt

pours into your lap. Foto 7 shows

spectators hand offered in answer to

101 SWEET SALT

your invitation; foto 7A is exposed view of palmed tube. As spectator ex-

tends his hand, make a magical pass (throwing motion) with right hand to-

wards left fist which brings right hand

past edge of table in position for dropping into lap.

Slydini calls this the rest position

(Foto 8) and it is accomplished by

allowing the hand to go limp and fall

by the pull of gravity; (see The

Magic of Slydini or The Art of Using the Lap as a Servante).

The instant your hand drops into

your lap, pick up the tube and palm

it. Immediately, raise your right hand

(tube palmed) and once again gesture with right at left as in foto 7 proving

your right hand is empty. Lean a little toward spectator, open your left fist

over his palm and show the salt has

vanished (Foto 9). Now, take the spectators fingertips

with your left hand (Foto 10) and at the same time make a grabbing motion, towards left, with your right hand

SWEET SALT l 102

(Foto 11). Turn your right fist over and allow the sugar to trickle down onto spectators palm (Foto 12).

As soon as sugar stops falling, start to lean back drawing both arms back together and in one continuous motion. At the moment your right hand reaches edge of table (Foto 13) allow empty tube to drop-but dont stop!

At this point, Slydini leans back perfectly relaxed (Foto 14), smiles and says Thats the best I can do . . . His whole attitude is one of having completed the effect; it says Thats all!

While right hand rests in your lap, pick up a pinch of salt and hold it. Just as spectator is about to move away, say Wait a minute! Again take his hand containing the sugar (supposedly salt) with your left hand.

With the tips of your right fingers (holding the salt), reach into the pile of sugar on spectators palm and pre-

103 l SWEET SALT

tend to remove a pinch of it; then, request two or three of the spectators to taste it after placing a bit in their hands.

After all have assured you that it is salt, ask them to wipe their

hands. Meantime, dont relinquish the hand of the spectator who is still holding the salt!

After spectators wipe their hands, say Lets try again . . . Take another pinch of salt from spectators palm, again drop a

bit into the palms of the other spectators and ask that they taste it

once more. Wait a few seconds for the expressions of surprise to register on their faces. Facetiously, Slydini asks again: Is it salt?

Incredulously, the spectators exclaim No, its sugar!

SWEET SALT 104

INTERLUDE WITH A PAPER NAPKIN

3 s z inis INTERLUDE WITH A PAPER NAPKIN

THE FAMILIAR CLASSIC of tearing up and restoring a piece of cigarette paper has always been a favorite. However, this type of paper is practically a relic of the past. Slydini has modernized this effect in- to a beautifully modern presentation. Since the effect is so well known, only the modus operandi will be discussed.

A small portion of a paper napkin is torn into pieces and then restored to its original shape.

PREPARATION: Prior to presenting the effect, tear off a corner from a paper napkin, roll it into a ball and place it by an ashtray or near any other of several objects on the table. Foto 1 is a side view showing starting position with paper ball in place. (Size of paper ball in foto is exaggerated for purposes of illustration.) During performance the ball is out of sight behind the tabled object. Put the ball well over towards left side of table.

PERFORMANCE: Take a paper napkin, identical to that from which tabled ball was made, open it completely and place it flat on right side of table. This should draw spectators attention away from left side. Show the napkin freely on both sides, fingers spread wide apart, thus allowing spectators to clearly see that your hands are empty. Perform towards right of table and dont glance towards left at any time. In foto 2 Slydini demonstrates the method for tearing

107 l INTERLUDE WITH A PAPER NAPKIN

off corner of napkin, facing towards the right and well above top of table. Retain the torn corner in your left hand and, with the right, toss the rest of the napkin on the floor towards the right. The torn corner should be approximately the same size as that from which tabled ball was made.

Open up the torn corner of the napkin and place it flat at right side of table. Press it out flat on both sides, fingers spread apart. Show your hands empty, back and front, as you say (more or less) : I want you to watch very closely. Dont blink or Ill fool you! Right now, if you could see an elephant vanish you would be surprised but I promise you that when I get through with this bit of paper youll be astonished! While he patters, Slydini picks up the torn piece and very slowly, deliberately, fingers spread well apart, displays it for all to see (Foto 3).

All movements are made slowly, deliberately, without jerkiness. Slydini conveys an attitude of deep concentration on what he is doing. This is an essential misdirective to keep attention focused on his hands.

With hands in the position illustrated in foto 3, corner of napkin is torn into several pieces. Separate the hands showing torn pieces in

INTERLUDE WITH A PAPER NAPKIN 108

each hand. Continuous patter is important to prevent the spectators eyes shifting from the hands. Slydini says, Watch! Dont take your eyes off me . . . Begin twisting the lower ends of the torn pieces together, forming a small paper bouquet.

It is very important that you work with hands high (about eye level) with body turned towards right until you have formed the bouquet. Now, start turning towards left as you display the bouquet for all to see- arms out and hands high. As you turn, grasp the bouquet with thumb and forefinger of right hand; hold thumb and forefinger of left hand immediately underneath, giving the impression that they, too, hold the torn paper (Foto 4).

When your hands are directly above the tabled ball (dont look at it, youll see it out of the corner of your eye), reach bouquet towards a spectator at your left and say: Touch (Foto 5).

This is the crucial moment. A split second off time and youll ruin the effect.

Simultaneously with reaching right hand to spectator, drop left hand on tabled ball. Your right hand stops at the moment your left forefinger and thumb grasp the ball. Dont hesitate! As soon as the spectator reaches out and touches the bunched-up paper, say Thats enough! (You should get a laugh-and the misdirection is perfectly adequate.)

Immediately, bring your right hand back and your left up beneath it (as in foto 4) bringing the torn pieces over the paper ball held by your left fingers.

109 l INTERLUDE WITH A PAPER NAPKIN

Your fingers now work together pressing the bouquet into a ball

(Fotos 6 an 7). As you work, contrive to put the torn pieces on the

bottom, the paper ball on top.

You can get rid of the torn pieces in any manner you prefer.

Slydinis method is a follows:

Hold paper ball between tips of let thumb and forefinger and

move that hand in an arc towards left, following it with your body

and your eyes. As your left arm moves towards left, drop your right

INTERLUDE WITH A PAPER NAPKIN l 110

hand to rest position at edge of table (Foto 8)) release torn pieces and immediately bring both hands together over center of table.

Put paper ball down (Foto 9)) make a couple of magical passes over it, pick it up and -slowly, carefully, deliberately-

fingers spread wide apart open it up to show paper completely restored. Allow the paper to float down from your fingers and show that your hands are completely empty.

1. Several items on table act as camouflage. When table is clean, paper ball has insufficient cover. A white tablecloth helps a great deal but is not indispensable if tabletop contains various items: pack- age of cigarettes, match folder, ashtray, salt shaker, etc.

2. Throw napkin on floor. Somebody may be tempted to match up the corner if you leave it on the table.

111 INTERLUDE WITH A PAPER NAPKIN

CIGARETTE RE-INCARNATION

5 7 I!$ 5 ini

CIGARETTE RE-INCARNATION LIKE ALL of Slydinis effects, his Cigarette Re-Incarnation aston-

ishes everyone for whom he performs it-particularly magicians.

Slydini shows an ordinary, filterless cigarette, holds it with

fingertips of both hands and puts a broken portion of cigarette on

the table before him until he has three pieces there. He then picks

up the pieces, one by one, puts them into the open palm of one hand,

makes a fist, pushes thumb of other hand into fist. From the closed

fist, a complete and perfectly undamaged cigarette emerges.

The effect takes just a few minutes and can be used as an in-

troduction or an encore to another cigarette trick. You can also use

it as a flourish or an attention-getter: Once your re-incarnated ciga-

rette is revealed, light up and

continue with the conversation

or go on with your repertoire.

PREPARATION: Put a cigarette

in your lap. The position is im-

portant: The cigarette should

lie horizontally across your lap

(Foto 1).

Begin by offering a cigarette

for examination. While it is

being examined, show your

hands, front and back. Make all

motions deliberately, slowly.

Take back the cigarette. Hold-

ing it between thumbs and fore-

fingers of both hands make mo-

115

slydini encores

Documents

magic of slydini

imp pass

excellent work

unpredictable coins

wrong way coins

reference work

original sleight

basic sleight