Just coins!

A Unique approach to some

classic routines

Bob Malinchock
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 Just Coins!
A Unique Approach to Classics

Contents
Preface 3

1. Four Coins Across 5

2. Coins Through Table 13

3. Slydini Single Coin Routine 18

4. Single Coin Routine Redux 21

5. Minor Sleights & Moves 25

6. Bonus! (The Loop) 29

Appendix – Cleaning Silver 32

© Bob Malinchock, 9/24/24

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 Preface

Coin tricks. There are thousands of them. But sadly, they may be on the way
out. Soon our kids won’t even recognize what they are. They are becoming
invisible as digital technology invades. Has anyone manipulated a bitcoin
lately?

There are some outstanding coin performers out there. For the most part their
dexterity and manipulation capabilities far exceed anything I could accomplish
even with all the extended practice that they must put in. Unfortunately, I just
never had the desire or will to put that much effort in to it. But I think a good
coin effect or routine can still be done without all that effort used in developing
the muscle memory and digit flexibility the experts acquired.

This booklet is intended for those who want a good artistic coin routine without
all that physical finger flexing practice often needed. However, to maintain the
artistic presentation and wonder we would like, it will still require expertise
common to all our magic. The routines and ideas offered in these pages I’ve not
seen before in any of the multitude of magic books I have explored. The
routines included are classics. They are not difficult, but worthy of studying by
any new coin enthusiast. They will demonstrate not only the creative process,
but also the basics of good close up magic. They will emphasize misdirection
and timing, the foundation of our art. And who best to lean on than Slydini.
Slydini’s magic does not depend on difficult manipulation and finger bending
sleights. It is almost totally dependent on misdirection. I will use him as the
basic mentor in this booklet.

Karl Fulves in his classic book “The Magic of Slydini … and More” highlights
four items to keep in mind when using misdirection as described by Slydini. He
defines misdirection as a coordinated movement of 1) hands, 2) eyes, 3) body,
and 4) facial expression. One might also add in patter if used. And notice the
use of the word coordinated fulfilling the basic rule that all magic is based on
timing as well as misdirection. All easily said, but not always well done.
Therein lies the true secret of artistic magic.

There are three steps in approaching this booklet’s instruction: 1) view a video
presentation of the routine, 2) decide on whether you want to continue, and 3) if
so, then proceed through the detailed written instruction of what to do step by
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step; i.e., all the minute details necessary to create and enhance the artistic
content. It is the author’s view that these few routines will prove to offer the
new student a quick and enjoyable approach to performing truly artistic magic
routines.

Included within are three basic classic coin routines: Four Coins Across, Coins
Through Table, and a Single Coin routine. All three introduce my personal
approach to performing. Not being particularly skilled in coin manipulation, the
routines are light on sleights and difficult finger moves. The emphasis is on the
fundamentals of magic; i.e., misdirection and timing. These I hope lead to an
appreciation of the art in magic. With the addition of appropriate patter,
hopefully, surprise and wonder will result to the enjoyment and benefit to both
the audience and the performer.

A fourth routine, the Slydini Single Coin routine, is attempted merely to

introduce and highlight a creative challenge to a proven winner.

A follow up chapter will outline the thinking behind the simple sleights utilized.
Their use was to emphasize, as Dai Vernon suggests, -- a very natural approach.
Which reminds me that in this book, I should clarify that the hand is made up of
a thumb and four fingers. The forefinger is the first finger and the pinky is the
fourth finger.

Another chapter will address using a gimmicked half dollar to try out just for
fun. Perhaps it might provide some impetus for the creation of another new
routine before coins disappear altogether from our programs.

And yet one more extra is the Appendix section where I highlight the silver
coins themselves. We’ll note those with the most silver (giving them the shine)
and how to best clean them.

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 Four Coins Across
(with almost no sleights)

A short while ago I was looking through a Chris Kenner book “Out
of Control” and trying out several of the routines. Of particular
interest at the time was a routine called O.O.S.P.C.A., which was
simply a four coins across routine. It was short and interesting.
Unfortunately for me it required much use of the classic coin palm
– a sleight or handling I have never been able to accomplish with much success.
But me being me took up the challenge. I’ve always been able to reasonably
substitute a thumb palm for a classic palm in many instances, and thus I started
to recreate the routine using thumb palms; i.e., my version of Kenner’s
O.O.S.P.C.A.

It’s really interesting what happens when one seriously begins to change or
merely adjust someone else’s magic routine. It rarely goes as originally
envisioned. These days I video all my efforts on my laptop. Using video is
extremely useful and seriously depressing. It reveals way too much! Although
my substitution of the thumb palm for the classic palm worked in essence, what
the video revealed was a multitude of bad angles, squeezed thumbs, visible
hidden coins, too fast or too slow moves, and even the fact that I have a crooked
finger that opened too large a space between the fingers of my right hand. It
was ugly and remained ugly after many attempts. It was time to meet the
challenge head on.

I am a great proponent of the belief that the performance of magic is, or should
be, an art form. Yet, most of the magic I see does not, in my mind, qualify as
my idea of art. Now, I’m not going to go into a dialogue or debate on what
constitutes “art.” This has been done often in our field, but in this case my
initial thrust in pursuing this particular routine was to determine if I could find
the art in magic. How? Perhaps by coming up with a near perfect performance
of a close-up manipulative routine. One where every motion, movement, move
was perfectly choreographed, and the misdirection perfectly mastered in order
to produce the so called wonder that Doug Henning always sought.

Did I succeed in this particular instance? No. But what I learned in this very
detailed attempt was worth more than I derived on the subject from my personal
library of several hundred books over at least the last seventy years. And even
better, I found it an exciting and enjoyable experience. I can honestly say that
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there is art in our world of magic, but to see it and recognize it requires much
hard work both by the performer and the observer. What I will attempt in the
following is a detailed description of the development of a routine I originally
called a “Four Coins Across Routine (with almost no sleights)” in an attempt to
find the art in magic.

Effect: Four silver dollars magically travel from one hand to the other invisibly.
I recommend viewing the following video for an informal demonstration:

https://youtu.be/6w6OeMf4TC4

Requirements: A small coin bag about 2” X 3”, five coins (silver dollars or
halves), a lap covering for only one coin lapping.

Setup: Four coins are placed into the bag. The fifth coin is deposited under the
coin bag on the table. Lap covering is in place.

Performance:
- Performer with hands clearly empty picks up the bag of coins with the
left thumb holding the 5th coin against the back of the bag.

- As the left hand is raised, the hidden coin is

allowed to fall into the left palm and held there
by the little finger palm. See figure.
- The coins are dropped out of the bag by the left
hand and the bag placed aside. It is no longer
needed.

- The four tabled coins are counted as they are placed into an open palm up
right hand. They may be stacked vertically on the palm.

- The right hand closes and is turned palm down on the table surface. The
left hand mimics the right hand.
- Both hands dramatically open wide, palms covering the coins hidden
beneath. Both hands slowly slide inward towards the performer revealing
a coin on the table.

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- There is only one coin on the left. On the right, three coins are revealed.
The fourth is retained by the palm of the right hand.
- Both hands are on the edge of the table, fingers on top and thumbs below
the edge. The hidden right hand coin is below the 1st and 2nd fingers on
the top of the edge of the table.
- Exposed on the table is one coin on the left and three on the right.
Apparently one coin has traveled across from the right to the left.
- As the left hand picks up the single coin on the left,
the right hand simultaneously slides off the edge of
the table and clips its coin between the thumb and
forefinger; i.e., the FFT (First Finger Thumb) clip.
See figure. This movement is covered by the larger
movement of the left hand reaching for the coin on
the left.
- The left fingers maneuver its coin to be held by its edges between the
thumb and forefinger of the left hand. This position is used to highlight
the kind of coin being used; e.g., Carson City silver dollars or Liberty
half dollars.
- The right hand goes to the left hand to take its coin. However it is holding
a hidden coin clipped between its thumb and finger. The thumb of the
right hand comes in front of the coin displayed by the left hand and
touches the displayed left hand coin which drops into the left palm.
- Immediately the right hand fingers draw back and
expose the coin in the right fingers as it withdraws
the coin – invisibly switching coins. This coin is
held by the right thumb and first two fingers and
used to tap the three coins laying on the table to the
right indicating that they are matching makes of
coin. See figure exposing completion of the move.
- The coin is then replaced into the extended fingers of the left hand.
- The right hand picks up the three coins on the table, closes the fist, and
turns it face down on the table. Simultaneously, the left hand encloses its
coin(s) silently and mimics the right hand.

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- Again the two hands open with fingers spread and are drawn slowly back
to the edge of the table.
- Two coins are revealed on the left and two coins are revealed on the
right. One coin is held hidden under the right fingers as previously
demonstrated.
- Both hands are again at the edge of the table, fingers on top and thumbs
below. Pause. Note two coins on the left and two on the right. Another
coin has passed from the right across to the left!
- The right hand again clips the hidden coin between
the right thumb and first two fingers at the edge of
the table.
- The left hand picks up one coin on the left side of the
tabled coins and places it between the hidden coin in
the right hand and its fingers.
- The left hand picks up the second coin on the left
and inserts it between the fingers and other coin in
the right hand. This results in two coins shown
extended from the fingers towards the audience
while a third is hidden below them under the first
two fingers of the right hand. See figure.
- The three coins are then dropped into an open left palm that is
immediately closed.
- The empty right hand picks up the two exposed coins on the table, and
closes into a fist.
- Both hands turn over, pause, and open wide. Both hands are slowly
withdrawn towards the end of the table exposing three coins under the
left hand and only one under the right hand.
- The single hidden coin in the right is concealed at the edge of the table
under the first two fingers.
- The table shows three coins on the left and one on the right. Another coin
has jumped across from the right to the left!

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- The right hand is raised to begin picking up the three
coins on the left. In the process of lifting up the right
hand, the hidden coin from the edge of the table slides
down into the 3-4 finger palm.
- The three coins on the left are picked up one at a time
by the right fingers and placed between the thumb and
fingers of the left hand. Each coin is placed between
the fingers and the previous coin in a fanned out
manner. Only three coins are seen in the left hand! See
figure.
- The three coins are let slide into the left palm and the single coin on the
table is picked up by the right hand and visibly thrown into the open palm
up left hand joining the three already there. (Four coins are now openly
displayed in the left hand.)
- Remark that some people believe they actually see the coins fly between
the hands.
- Both hands are closed into fists and placed on the table. There is a pause
and the fingers open wide. Both hands are slowly drawn to the edge of
the table again exposing only three coins on the left and one coin again
on the right.
- The single coin hidden by the left is now under the first two fingers of the
left hand at the edge of the table. Right hand should also be at the edge of
the table. Pause.
- Left hand picks up the three coins on the left adding the hidden fourth
coin in the process. Hand is closed into a fist and placed on the table
slightly closer to the performer.
- Simultaneously the right hand picks up the single coin
on the table. Hand forms a fist; however the coin is not
quite within the fist but rests at the extreme lower end
of the right palm, held there by the tips of the fingers.
See Figure.

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 - As the right hand is place on the
table it is placed a bit closer to the
performer, the coin is released and
allowed to slide below the right
wrist as both hands are slid closer
to the center or audience side of
the table.
- Both hands are again dramatically opened flat and both hands are slid
back to the edge of the table again. However, this last time the thumbs
and lower palm do not extend over the edge. Both hands are fully flat on
the table.
- The left hand is turned palm up exposing an empty palm and four coins
on the left of the table. Pause.
- The right hand has lapped the single coin under the wrist in the process of
sliding back and can now very openly open palm up showing no coins on
the right!
- Now it’s time to look at the audience, smile and note that all four coins
have succeeded in traveling across from the right hand to the left hand in
plain sight!

Endnote: This may have been a painstakingly long explanation but necessary
to highlight the need to pay attention to detail if one wants to enhance the art in
their magic performance. It adds to the magic in the effect and becomes less a
puzzle to figure out. Also note that at no time do the hands go below the table,
but are in plain sight throughout the routine.

See an informal explanation at:

https://youtu.be/WyDugh_A618

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 Improved Version of Four Coins Across

I recently came across an article by Danny Goldsmith that seriously impacted

my original version above. Let me quote a small portion of his comments.

“A helpful principle to consider is economy of motion, or the way in which energy is

conserved when performing a task. All biological creatures use economy of motion
in order to conserve energy, taking the most effortless path to accomplish what
needs to be done. This is how we naturally move.

It’s important to examine our performances and look for unnecessary movements.
Are we taking the most effortless path to accomplish the action? Is there proper
motivation? How natural is our timing? All of these aspects play a part in our magic
coming across as natural as possible.”

I soon realized that my original version failed at least twice in my routine. First
in applying the Spellbound transfer from one hand to the other and secondly
with the transfer by adding two coins to a hand with one hidden and then
retransferring the three back to the other. Clearly no economy of motion and
questionable motivation for the meeting of the two hands.
Thus came this new version of Four Coins Across with no potential of obvious
transfers of coins. All coins on the right are only touched by the right hand and
all coins on the left are only touched by the left hand. At least so it appears. No
sneaky patter justification for the moves either. The changes also demonstrate
the taking of the most effortless path to accomplish what needed to be done!
This in turn simplified the effect, made the performance easier, and actually
made the effect more mysterious. See what I mean by viewing the following
video:
https://youtu.be/w3yXUyUsMBQ

The only new move is actually a three step choreographed approach to a thumb
palm and drop into a hand well. This same move occurs for both adding the
second coin to the left and adding the third coin to the left.

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1. As both hands expose the coins, both hands are drawn to the table edge
simultaneously. Be sure that the fourth (hidden) coin in the right hand is drawn
to the very edge, even overhanging the table if able. Lift both hands slightly and
slide hands forward onto the table until stopped by the crotch of the thumb and
first finger. You are now perfectly set up to steal the coin on the right from the
table top into a thumb palm. (fingers can be spread slightly on the table surface
if desired.)
2. Both hands are brought forward onto the table in front of the performer about
4-6 inches apart, formed into loose natural open fists, and creating an opening
between the thumb and first finger of each hand. The openings of both hands
are at a 45 degree angle towards the performer. Pause.
3. As the single coin on the left is noted, the right hand begins to move to point
at it. Simultaneously the left fist moves a few inches to the right as the body
moves forward, putting the left fist directly in the path of the right hand moving
toward the single coin and stops. As the right hand crosses over the left fist the
thumb palmed coin is dropped into the opening of the left fist. The left hand
does not move.

The right points at the single coin on the left almost touching it and then moves
to the right and counts the three coins there. While this is happening, the left
hand can slide the coin to the edge and 3-4 palm it. The coin transfer has been
done naturally, quickly, and simply with no funny moves. Only justification is
the act of pointing to the coins on the table.

The exact same procedure is followed when adding the third coin to the two
coins on the left. An explanatory video is available if needed at:

https://youtu.be/p3OXQpZWvjo

This, in my opinion, is far better than the original version presented above.

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 Coins through Table
(and into Glass)

This idea came from the classic Stars of Magic book. In it Dai
Vernon debuted his Kangaroo Coins, passing coins not just through
a table, but also into a glass. My problem with the routine was that
his hand was under the table when the coin was dropped into the
glass. Years later I came across a Genii article wherein a performer
used his knee or leg to pop the coin held between the leg and the glass into the
glass. I found this method to be extremely difficult and too risky. Then while
playing around with some coins after devising some mechanical means for
accomplishing the feat, I discovered the obvious. It is explained in the routine
outlined and described below.

Effect: Three silver dollars pass through a bag and the table top and fall one at
a time audibly into a glass beneath the table held by the knees. For an informal
demonstration see:

https://youtu.be/ffn6Eo3F6gQ

Requirements: Four shiny silver dollars, a glass, a small

coin bag or purse, a small servante, and a close up pad.
See figure.

Setup: The bag (3”x2”) or opaque coin purse must have

a slit on one side about midway down the length. The slit
must be long enough to allow a coin to pass through and be cut horizontally
across the bag. Three coins are placed in the bag. Bag is placed on the table slit
side face down.

The servante (3”x4”) is placed to the left over the left leg
where the left hand would naturally rest on the table. Mine,
with the long extensions, is simply placed under the close
up pad.

The fourth coin rests on the right leg thigh under a fold of
the trousers to stabilize it. The glass is on the table.

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Performance Routine:
- Bag is picked up with the right hand and the three coins dropped left of
center onto the table. Bag laid on table (slit side face down) to the right of
the coins.

- Right hand is used to describe and count the coins.

- Bag is picked up by the right hand with the slit side
facing the performer. Coins are placed one at a time
into the bag with the left hand. First two coins go
into the bottom of the bag. The third coin goes
through the slit and into the palm of the hand where
it is concealed by the right 3rd and 4th fingers; i.e.,
the little finger palm. See figure.

- Bag is taken by the left hand and laid on the table approximately over the
knees under the table. Right hand takes the glass by the forefinger and
thumb and reaches under the table to the right side of the right leg.
- The body leans forward as the right hand travels up and around the right
knee. The right arm bends inward placing the glass
between the legs near the groin so that the glass
opening is just beyond the edge of the table. See
figure.
- The right hand travels back in the same direction,
around the right knee so that the hand exits from
under the table to the right of the leg. The hand must
not come up from under the table directly in front of the performer.
- As the hand comes out from under the table, the coin is moved to a
thumb palm.
- The right and left hands square up the bag directly over the knees,
supposedly where the glass is located as seen by the spectators.
- Both hands withdraw to the edge of the table
with thumbs hanging over the edge. Pause. The
left hand is raised over the bag. At the same
time the body leans forward and the right hand

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 moves over to a position directly over the glass at the edge of the table.
See figure.
- The left hand slams down on the bag and a split second later a loud click
is heard of the coin dropping from the thumb palm in the right hand. No
movement is detectable by the audience.
- Both hands relax on top of the table edge.
- The right hand picks up the bag and empties two coins onto the table.
Bag is laid down to the right of the coins.
- Remark that you need to check the glass. Use right hand to retrieve the
glass in exactly the same way it was placed under the table. That is go
around the right leg and knee and again follow that route on retrieving
the glass.
- Dump the coin from the glass onto the table. That’s one!
- Pick up the bag with the right hand with slit towards oneself again.
- Place one coin into the bag all the way to the bottom. The second coin
goes through the slit and into the right palm and 3rd and 4th finger
seclusion.
- The bag is place on the table again, slit down, over the knees, and place
the coin into the glass with the right hand.
- Right hand picks up the glass with the forefinger
and thumb and places it below the table in
exactly the same manner as explained
previously. Follow the arc around the right knee
to the edge of the table.
- Remember to thumb palm the coin in the right
hand as it emerges from under the table.
- Again the hands square up the bag over the knees. Left hand raises, the
body leans forward, and simultaneously the right hand moves to the edge
of the table over the glass.

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- The left hand slams down, a split second later the coin drops from the
right thumb palm, and a loud sound is made from the coin hitting the
glass.
- Both hands rest on table. Pause. The left hand grabs the bag and spills
one coin from the bag onto the table. The bag is now placed to the left of
the coin.
- Let’s check the glass. The right hand retrieves the glass from under the
table in exactly the same manner as before – in an arc around the right
knee. Two coins are spilled from the glass.
- For the last coin, the bag is taken by the left hand, slit towards the
performer. With the right hand, the single coin is placed through the slit
in the bag and allowed to drop into the left hand where it is hidden.
- Right hand takes the bag and places it once again on the table over the
knees. Simultaneously the left hand slides to the edge of the table over the
servante. Coin is still on the table covered by the left hand.
- Right hand centers bag, drops two tabled coins into the glass and grabs
the glass by the forefinger and thumb.
- As the glass is again placed under the table in the same
manner as before, the left hand slides the hidden coin
in the left hand off the edge onto the servante.
- As the right hand exits from under the table, it obtains
the coin half hidden under the trouser fold of the right
leg. It immediately moves the coin into the thumb palm.
- For this last coin supposedly in the bag, the process is changed, and
instead, a rubbing of the bag with fingers of both hands proceeds. The
right hand moves to the edge of the table. The left rubs and a sound is
heard as the coin in the right hand at the edge of the table is dropped into
the glass.
- The bag is shown empty! Be careful not to expose the slit side of the bag.
- The glass is retrieved in the usual manner and the three coins in the glass
displayed - hopefully to the amazement of all observers!

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Endnote: The directions given here may be long and very detailed, but the
intent is to ensure attention is given to the art in magic. The art requires
precision to be most effective.

A detailed video explanation can be seen at:

https://youtu.be/a_fiuHeA8A0

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 Slydini’s Single Coin Routine

The following routine is one I viewed on a video of Slydini

performing on the Dick Cavett television show many, many years
ago. It is also based on the two books Magic of Slydini … and
More by Karl Fulves. Most magicians doing any coin magic
usually come up with their own Single Coin routine as I have.
However, I selected this proven one to emphasize the Slydini use of naturalness
and misdirection. In addition, the sleights are minimal.

Effect: A single coin vanishes, jumps, penetrates, and is produced multiple

times. See my informal demonstration at:

https://youtu.be/1t9eulejeIY

Requirements: A single silver dollar coin. A cloth napkin or table cloth edge
for lapping – the foundation of Slydini’s approach.

Setup: The performer is seated behind a table with the chair at an angle to the
left of the performer and some distance from the table itself. This will help
provide some justification for the left hand in particular to fall to the lap when
in the resting position.

Sleights: Other than the lapping wherein the coin is dropped behind the
tabletop onto the lap, two other Slydini ruses are used. The Revolve and the
Imp Pass are explained in detail in the Fulves and other tomes of his work such
as Slydini Encores.

Presentation: I’ve shortened the Slydini/Cavett routine into the following four
phases.

1. The coin is taken by the right hand and tossed into the left and back again.
This is repeated a second time. On the third toss into the left, the left hand
closes and moves to the center of the table palm down. It is during this third
toss that the Revolve is performed dropping the coin into the lap. The left hand
is opened and slammed down onto the table. The coin has vanished and both
hands are exposed and shown empty. Magician leans back and takes a relaxed
position.

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2. In this relaxed position the left hand drops to the lap and obtains the lapped
coin while the right hand and arm rest on the edge of the table. The left hand
positions the coin behind the table top ready to implement the Imp Pass. The
right hand moves towards the left chest and in the process steals the coin
positioned in the left fingers behind the tabletop with the right thumb and
fingers. The coin is produced from the left chest by flattening the coin against
the chest under the fingers and then sliding the fingers off the coin exposing it.
Pause, to make sure all are aware of its production. Move the right hand with
the coin to the center of the table, but in the process drop the coin lapping it as
the fingers pointing down cross and almost touch the edge of the table. Pretend
to place the coin in the middle of the table, but of course it’s not there. It has
vanished.

As the right hand was pretending to place the coin on the center of the table, the
body leans forward, the left hand drops into the lap, and grabs the lapped coin.
Simultaneously, as the right hand exposes no coin, the left hand moves to the
right chest and produces the coin again in the same manner as was done on the
left side. Pause, and again as the left now moves to the center of the table, the
coin is lapped as the fingers cross the table edge. Yet another vanish. Magician
leans back, exposes two hands and takes the relaxed position.

3. For this third phase, the magician’s eye focuses on a point in mid-air and
with the right fingers reaches for it. Pretending he has the coin he rubs the coin
on his left upper arm. In reaching for the coin, the left hand simultaneously
picks up the lapped coin. The magician implies the coin was rubbed into the
arm and immediately the left hand produces the coin from the right forearm
now crossing the body. “Oh, there it is,” he might say.

The coin is now exposed on the face up left palm held in front of the performer.
The right hand thumb and fingers come to pick up the coin. As the coin is
picked up, the left hand turns face down and the coin is dropped or left in the
left palm. The right hand continues to the left upper arm pretending to have the
coin again. The invisible coin is rubbed into the arm and produced from the
right arm a second time.

The coin is held on the open palm of the left hand. The left hand is turned over
executing the Revolve move dropping the coin into the lap. The hand is held
over the table, the fingers are slowly opened, and the coin is gone! Show both
hands openly and achieve the relaxed position.

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4. In the relaxed position, the left hand drops to the lap, obtains the coin, and
positions it for the Imp Pass. “Another coin is needed,” the performer says and
produces one from the upper left chest area again as was done in the second
phase. Pause, and toss the coin into the open face up left hand. Fake take the
coin with the right hand and pretend to push it through the back of the now face
down left hand. The fake take is the same move as in phase 3. The left fist opens
and the coin drops out onto the table completing the illusion that the coin has
penetrated the left hand.

“Let’s try that again,” the magician says and proceeds to slide the coin on the
table to the edge and picks it up. Except he doesn’t pick it up, but rather lets it
drop into the lap. He pretends to perform the same movements in having the
coin penetrate the left hand. Nothing drops out of the left fist! The coin has
vanished yet again! Both hands are shown empty, the performer relaxes, and the
routine is ended.

Endnote: This was a much abbreviated explanation. More detailed

explanations of the Revolve and Imp Pass are given in the chapter on Sleights
in this volume. Nothing original here except for the significant shortening of the
routine seen on the Cavett video.

The original Cavett video can be seen at:

https://youtu.be/w0K6aVu5omc

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 Single Coin Routine Redux
(My Version)

If one takes a close look at the Slydini version I presented above,

you will see that it includes 6 vanishes, 5 productions, 2 jumps, and
1 penetration. To do this requires lapping 7 times and two uses each
of Slydini’s Revolve and Imp Pass. Of course what is of most
importance is his superb misdirection. It was always my desire to
eliminate the lapping. I always had a problem with the hands always going to
the lap and off the table. Also his method required sitting away from the table
and slightly turned in order to provide for the “relaxed” pose used to justify the
hands going to the lap. My goal then was to see if I could provide the same
routine but eliminate requiring the hands to drop off the table at all and without
the turned pose. I think the following does that.

Effect: More specifically, a single coin is vanished at the start. This is followed
by another two productions and vanishes. A coin from the air jumps from the
shoulder to the forearm twice and then vanishes. Finally the coin is found again,
penetrates the hand and vanishes for the last time. An informal demonstration
can be viewed at:

https://youtu.be/tRvAxNZEHnc

Requirements: A single silver dollar coin. A modified servante sized to lie just
beneath the table top – the foundation of my approach. The figure in phase 2
below illustrates the sizing and placement of the apparatus.

Setup: The performer is seated behind a table with the chair at some distance
from the table itself. This will help provide some justification for the hands to
rest on the edge of the table, but still close enough to preclude obvious lapping.

Sleights: Other than when the coin is dropped behind the tabletop onto the
servante, the only two ruses used are the FFT pickup from the servante and a
single Slide-Clip vanish at the start.

Presentation: This will be broken down into the same four phases.
1. The coin is taken by the right hand and slid into the left and back again. This
is repeated a second time and the coin appears to be retained by the left hand.
The Slide/Clip vanish is performed; thus, in reality the coin retained in the right
21
hand is dropped onto the servante as the left hand is opened and slammed down
onto the table. Both hands are clearly shown empty. The first surprise and proof
that it is indeed a mysterious coin.

2. A relaxed position is taken by leaning back in the

chair and drawing both hands to the edge of the table,
fingers above and thumbs below. Lean forward and
both hands turn inward allowing the first finger of each
hand to fall off the edge of the table. The right hand
picks up the coin from the servant and moves towards
the center of the table holding the coin in the finger/thumb clip.

After a pause, the right hand moves towards the left chest and produces the coin
by sliding the fingers off the coin exposing it. Pause, to make sure all are aware
of its production. Move the right hand with the coin to
the center of the table, but in the process drop the coin
into the servante as the fingers almost touch the edge of
the table. I tend to let the coin swivel into the closing
fingers as I drop the coin. Pretend to place the coin in
the middle of the table, but of course it’s not there. It has
vanished.

As the right hand was pretending to place the coin on the center of the table, the
body leans forward, the left hand first finger and thumb drop into the servante,
and grab the shelved coin. Simultaneously, as the right hand exposes no coin,
the left hand moves to the right chest and produces the coin again in the same
manner as just done on the left side. Pause, and again as the left now moves to
the center of the table, the coin is dropped into the servante as the fingers curl
around the swiveled coin and cross the table edge. Yet another vanish.
Magician leans back, exposes two hands and takes the relaxed position.

3. For this third phase, the magician’s eye focuses on a point in mid-air and
with the right fingers reaches for it. Pretending he has the coin and bending the
hand towards himself, he rubs the coin on his left upper arm. In reaching for the
coin, the left hand simultaneously picks up the shelved coin with the finger and
thumb off the edge of the table. The magician implies that the coin was rubbed
into the arm and immediately the left hand produces the coin from the right
forearm now crossing the body. “Oh, there it is,” he might say.

22
The coin is now exposed on the face up left palm held in front of the performer.
The right hand thumb and fingers come to pick up the coin.
As the coin is picked up, the left hand turns face down and the
coin is dropped or left in the left palm. Do not close the left
fist, leave the fingers extended, but have the palm up at a 45
degree angle towards yourself. The right hand continues to the
left upper arm pretending to have the coin again. The invisible
coin is rubbed into the arm and produced from the right arm a
second time.

The coin is held on the open palm of the left hand at the edge of the table. The
left hand is turned over dropping the coin onto the servante. The hand is held
over the table, the fingers are slowly opened, and the coin is gone! Show both
hands openly and achieve the relaxed position.

4. In the relaxed position, the two hands are again resting on the edge of the
table. “Another coin is needed,” the performer says and produces one from the
upper left chest area again as was done in the second phase. Pause, and toss the
coin into the open face up left hand. Fake take the coin with the right hand and
pretend to push it through the back of the now face down left hand. The fake
take is the same move as in phase 3. The left fist opens and the coin drops out
onto the table completing the illusion that the coin has penetrated the left hand.

“Let’s try that again,” the magician says and proceeds to slide the coin on the
table to the edge and picks it up. Except he doesn’t pick it up, but rather lets it
drop onto the servante. He pretends to perform the same movements in having
the coin penetrate the left hand. Nothing drops out of the left fist! The coin has
vanished yet again! Both hands are shown empty, the performer relaxes, and the
routine is ended.

Endnote: As planned, there were no hands below the table or lapping of the
coin. Of course, there is the servante. Is it better than the Slydini approach?
Probably not, if NOT performing before a camera. As in most all Slydini, it is
the misdirection and presentation that is the key to his greatness.

Can we get rid of the servante and still not lap? I think it is possible with
detailed choreography of the arms and hands at the edge of the table, but
probably not worth the effort when all the other more modern approaches being
developed by today’s coin enthusiasts and experts are considered.

23
A brief informal explanatory video can be seen at:

https://youtu.be/OxDBFk4RBho

24
 Minor Sleights & Moves

One cannot discuss coin magic without talking about palming, the
essence of coin work. And no matter what book is picked up, they
all start with the need to learn the “classic palm.” Well, I’m sorry to
say that I could never do the classic palm and have never succeeded
in learning it.

Two other palms viewed as standard are the finger palm and the thumb palm.
For me, both are relatively easy, but I have found that I have modified both over
the years.

Thumb Palm: The thumb palm has been my “go to” palm whenever the classic
palm was called for. Strangely however, the most common book descriptions
make it sound too difficult. Even Bobo, the “bible” of coin magic, has a
description that I followed for years that placed the coin
between the first and second fingers to start with. Those
two digits are then curled inward to place the coin in
position between the upward palm and thumb where it is
gripped lightly. I did that until one day watching a
Michael Ammar video I noticed that he had an
exceptionally simple way of getting the coin to the
thumb palm crotch. He simply laid the coin at the base of the first and second
fingers, closed his hand and the coin automatically was secreted in the proper
position. This works very well and with a more natural movement of the
fingers. I now openly use it all the time now. I also discovered it was described
this way in Henry Hays “Learn Magic.”

Finger Palm: The other common palm that needs updated is the finger palm.
All the volumes I’ve seen always position the coin at the base of the two middle
fingers (2 & 3). With all my playing around, I always
found it easier to use the 3rd and 4th fingers. Never saw
this described in all the books I’d seen until one day I
noticed in the Eddie Joseph book, Coin and Money
Magic, copyright 1942, Abbott’s, that he strongly
recommended this method as the fingers represent a
natural partly closed appearance. To quote him
regarding the standard middle two finger approach,
“Some in their anxiety to appear fair stick out the first and little fingers while
25
the second and third remain closed over the coin. There could be no better way
of communicating the fact that there is something concealed under these
fingers.”

First Finger Thumb Clip: Another of what I’ll call a palm I’ve not seen in any
books that I can recall is the first finger thumb clip. I’ve used it much in this
booklet. The hand retains its natural fold and the coin in lightly held by the first
finger and thumb with the bulk of the coin hanging down into the semi-closed
fist. This position is usually attained by having the coin
resting on the edge of the table underneath the first and
second fingers. By drawing the hand towards the self
the coin slides off the table top, is caught by the thumb
and first finger, as the back of the hand turns towards
the audience. This move is very handy when used in
the Spellbound switch in the Four Coins Across
routine.

Spellbound Switch: In that switch, the left hand picks up a coin by its edges
from the table between the first finger and thumb to display both sides of the
coin. The right hand simultaneously picks of the coin to be switched from the
edge of the table in the first finger thumb clip and momentarily rests on its
lower palm on the table as the coin in the left is being displayed. Immediately,
the right comes up and the right thumb is placed directly in front of the coin
being displayed vertically by the left hand with the palm facing up.

With the thumb directly in front of the coin in the left, the right hand gently
pushes the coin into the left where it drops into the left palm and places the coin
hidden in the right directly into the position of the just released left hand coin.
Immediately the right fingers slide across the coin and grab it by its edge and
carries it away. It should all look as though the original coin in the left was
merely taken away by the right, when in reality the coin has been switched for
another.

26
Some Single Coin Vanishes & Productions:
There must be a million ways to vanish a single coin. In looking at the old issue
of Eddie Joseph’s Coin and Money Magic, he starts out by listing thirty. And
more are being invented constantly. I created my own version called the Slide
Clip Vanish which was published in the Linking Ring and used in this booklet
to start my version of Slydini’s Single Coin Routine. There are many far better
than this one, such as the DG Retention Vanish which I just recently learned.
Just for completeness I’ve included a description of my Slide Clip Vanish
below.

Slide Clip Vanish: The slide vanish described in Bill Tarr’s book can be
enhanced for slow motion work, by adding a clip move at the end of the slide.
In this version, the right hand need not be in a vertical position as the coin slides
down the right fingers. The slide occurs more at a forty-five degree angle. In
addition, the right forefinger does not move towards the right little, pinky finger
to secure the sliding coin. Instead, the coin rolls down the right little finger
which has been moved inward as though it were going to clip the coin in the
standard slide vanish. This action actually forms a small shelf for the coin to
roll on.

As the coin reaches the end of the little finger slide, the little finger is bent in
further and the coin drops down between the little finger and the adjacent third
finger of the right hand. At this point the coin is still in a vertical position,
resting on its edge and lying flat against the right fingers. The edge rests on the
left palm. All is covered from the spectators view by the back of the right hand.

By pressing the right little finger back into position alongside the right third
finger, the coin rotates 90 degrees and is clipped, held tightly by the third and
fourth fingers of the right hand. The right hand fingers can now be curled
inward slightly, completely hiding the clipped coin as the right hand moves
away from the left, and the left hand closes into a fist as though holding the
coin.

The right hand drops to the side and while the focus is on the outstretched left
hand, the right moves the coin into a thumb palm.

The left fist is shown back and front. The right hand now waves over the left
hand fist which is palm up. As the right hand with fingers slightly spread

27
passes over the left from the front to the back, the left fingers open wide,
revealing an empty hand.

The Revolve: This is Slydini’s premier move for vanishing a small object and
is covered in minute detail in “The Magic of Slydini … And More” by Karl
Fulves, pages 41-43. In brief summary the move consists of dropping the object
into the lap from a closed fist resting on the edge of the table as it moves to the
center.

The Imp Pass: This is a truly great Slydini move to enable the production of a
small object and is also covered in great detail in the Karl Fulves book on pages
43-44. Very briefly again, the coin or object to be produced is in the lap at the
start. The left hand secretly grabs it with the forefinger and thumb and positions
the coin just below the table top where it can be grasped by a right hand
forefinger and thumb as the hand sweeps across the edge of the table towards
the chest.

28
 Bonus!
(The Loop)

Another possible manipulation method not used in the

previous routines in this booklet.

Invisible Thread Vanish, Production, & Penetration: Using a thread loop to

hide or produce a coin is old. The usual way it is described is to have a coin
with a very small hole drilled into it near an edge and then a loop of thread
fastened to it. In performance, the loop of thread is hung over the thumb and the
coin typically rests against the palm. What I discovered from a lecture by a
Canadian lecturer many years ago was that it was much better to have the loop
around the first finger and after much experimenting confirmed his
recommendation. So here’s how I do it.

I make a loop of 2# fishing line about 2” in length. The proper length should
allow the coin to rest in the palm of the hand. I don’t drill a hole, but merely
tape it to the coin with a piece of common transparent tape. Be sure to tape the
knotted end of the loop to the coin. The knot will help prevent the line from
pulling out. From a short distance the tape won’t be seen. With the palm facing
the performer, the thumb can be inserted between the coin and the palm. If the
hand is now raised with the palm facing the audience, the coin will swing
directly behind the hand hiding it from audience view. The hand is clearly
shown empty with fingers wide apart if wanted. By lowering the hand and
twisting a closing palm towards yourself, the coin will automatically fall into
the fist. It can then easily be produced at the finger tips from the palm. See
figures.

29
I was once challenged to produce two coins, one in each hand, simultaneously
to open a club stage show. I used this production technique very successfully as
other members of the club proceeded to walk among the audience producing
coins in the more standard Miser’s Dream approach.

In playing with the loop I found one can have a coin penetrate the hand in
reverse; i.e., place the coin in the hand and pull it out through the back of the
hand.

Or one could simply place the coin in the left, show it has completely vanished
showing both hands empty by hiding the coin horizontally behind the thumbs
and first fingers and then reproducing the coin magically between them.

Or one could have a coin penetrate the bottom of a glass. Show the coin on the
palm of the hand. Invert the glass over the coin. Turn the glass mouth up while
retaining the right hand over it. Let the coin clink as it hits the side and bottom
of the glass. Left hand covers the bottom of the glass. Right hand is retrieved
with the coin hidden hanging into the right palm. Right hand immediately
30
reaches palm up under the glass bottom and pretends to pull the coin out from
the bottom. See figures below.

A very informal video demonstration and explanation of the looped coin

narrative can be seen at:

https://youtu.be/GhuZny85olU

https://youtu.be/HOLl42yuNUA

Addendum (12/10/24): Unknown to me at the time I was writing this booklet, I

recently mysteriously came across a similar gimmick on the Internet. On
investigation, I discovered that a product was offered back in 1990 (and still
available) called NOW-U-C-IT, NOW-U-DON'T by Jeff Stewart and Meir
Yedid. It is excellent and offers over 20 different effects by many contributors.
The best youtube description can be found at:

https://www.youtube.com/watch?v=8rBHJkLjVz8

Concluding Remarks:

I hope this small volume has proven useful to you and maybe encouraged your
pursuit of a more creative and artful approach to your magic. I welcome any
comments, criticisms, questions, suggestions, etc. I can be reached at:
bobjustbob1116@gmail.com.

Enjoy your magic!

Bob - Just Bob!

31
 Appendix

Coin Cleaning

Most coin books will tell you that coins are hard to see and that it is best to use
coins that shine very well and flash if moved in front of a light source. I agree
and have found that it is the coins, halves and dollars, that contain real silver
that appear the best. What coins have silver in them? For American coins
consider the following.

Half dollar coins up and through 1964. In fact the 1964 half is the only
Kennedy half dollar with silver in it.

As noted below in the chart, the Kennedy halves, with the exception of 1964,
and the Eisenhower dollars are the least desirable if seeking bright flashy visual
coins.

How do we clean them? The following page provides what I have found to be
the easiest and the best. Do this and you will really see the difference between
those coins that contain silver and those that don’t.

Most Popular and Available American Silver Coins Dates Troy Ounces Silver
Walking Liberty Half Dollar 1916-1947 0.3617
Franklin Half Dollar 1948-1963 0.3617
Kennedy Half Dollar 1964 0.3617
Kennedy Half Dollar 1965-1970 0.14789
Morgan Dollar 1878-1921 0.77344
Peace Dollar 1921-1935 0.77344
Eisenhower Dollar 1971-1978 0.3161
American Silver Eagle 1986-now 1.0

32
 Cleaning Silver Coins
Step 1: Line Container with Aluminum Foil
Line the entire container with aluminum foil. Ensure that the container is completely
lined with as few gaps as possible, multiple layers may be necessary. The aluminum is
necessary chemically.

Step 2: Sprinkle Baking Soda

Sprinkle baking soda inside the container on top of the aluminum foil. Line the bottom of
the container with baking soda so that you can barely see the aluminum foil on the
bottom of the pan.

Step 3: Add Tarnished Silver Coins

Add the tarnished silver into the middle of the container with the most tarnished side up.
You may need to repeat steps if both sides are equally tarnished.

Step 4: Add More Baking Soda & Hot Water

Cover the silver with baking soda, enough to totally obscure the silver. Fill the container
with hot distilled water until the silver is completely covered. The heating can be done in
3 minutes in a cup in the microwave. After the water has been poured in, add more
baking soda on top of the silver. This will need to soak for at least 5 minutes. Soak
times may vary depending on the amount of tarnishing.

Step 5: Rub Away the Tarnish & Grime

Put on the latex gloves and begin to lightly scrub the tarnished silver with the baking
soda and water mixture. Be careful to not scrub the silver too hard - scratching can
occur. Thoroughly scrub all sides, including the edges, to remove as much tarnish as
possible. Rinse the silver frequently to see any remaining tarnish and re-apply baking
soda to those areas.

Step 6: Rinse Silver Coin with Cold Water

Rinse the silver off in the cold water, this step will help to remove any baking soda
residue. Oftentimes, if this step is skipped, small white spots can remain on the silver as
dried baking soda.

Step 7: Inspect Your Coins

Inspect the silver for any remaining tarnishing or left-over baking soda residue. Repeat
steps 3 through 6 if necessary. Enjoy your like-new shiny silver!