E ffect: The performer exhibits four silver dollars, asmall disk cut from

a wine cork, a wand and a hollow cylinder that has neither top nor
bottom. He sets the cylinder over the cork disk on the table, then spreads
out the four coins. One by one he vanishes the coins from his hand in a
completely baffling manner. When he raises the cylinder, the four coins
are found there, in a stack with the cork lying on top.
The performer takes the cork into his hand and covers the stack of coins
wirh the cylinder. Then, without warning, the cork suddenly transforms
into the four coins; and when the cylinder is next raised, the coins are
found gone and the cork is back.

M ethod: The effect just described, as many readers will have

recognized, is John Ramsay's celebrated "Cylinder and Coins". Mr.
Ramsay's trick is a brilliant embellishment on "The Cap and Pence". The
latter mystery has been popular with magicians and their audiences for
over three and a half centuries, and is still widely performed to this day.
O n the other hand, John Ramsay's exquisite variation is revered among
magicians, but very seldom performed. The main reason for this is the
heavy demand the Ramsay trick places on the performer's abilities. Indeed,
this trick has acquired a reputation of great difficulty among magicians.
It is John's opinion that this reputation arises not from the sleights
required -which are no more demanding than those used in many
frequently performed tricks -but from the boldness of the deceptions,
which require expert misdirection and bluff.
John, as ayoung man, heard other magicians comment on the extreme
difficulty of Ramsay's "Cylinder and Coins", and he took it as a challenge
to master it. When he had done so, he began performing it and was
disappointed to find that the trick hadn't the impact for lay audiences that
it did for magicians. Mr. Ramsay's magic, like Slydini's, is highly
idiosyncratic While the innovations ofthese men hold important lessons
for all magicians,
- the details of structure and style ofien do not translate
successfully to other performers. They are too closely bound to the
 ~ R E A M U N E DCYLINDER AND COINS 51
character ofthe inventor. In Mr. Ramsay's case, his magic was frequently
loadedwith feints and nuances designed to fool magicians, but which held
no meaning for the public. John, in an effort to reap the reaction from
audiences that he knew "The Cylinder and Coins" was capable ofeliciting,
began to tinker with its structure. The changes he eventually made
accomplished two things: all the feints but one were eliminated; and the
action in the second phase of the trick was accelerated. In the original
Ramsay handling, the coins were extracted magically fiom the cylinder
one at a time. The interest of modern audiences is likely to diminish
during four such repetitive productions. Consequently,John produces all
four coins at once. In doing this he has also clarified the basic effect: the
transposition of the cork and coins. T o the same end, he has eliminated
the incidental effect of passing one of the coins through his hand, which
Rarnsay included among the vanishes. John believes that this penetration
only detracts fiom the baffling effect ofthe vanishes. Despite this sttuctural
editing, John's handling remains in large part fiithful to the original; and
he is quick to add that he does not v i m his revisions as improvements
over Mr. Ramsay's routine, but only a retailoring that better fits his style
of performance.
Here 1 will insert a personal note: Over the years I have seen several
highly accomplished performers present the Rarnsay routine, and at points
in the presentation I found the effea became confusing. I have also seen
John perform his version of "The Cylinder and Coins" on at least six
different occasions, and in his hands the effect is always crystal clear. Nor
is the deceptiveness decreased by the elimination of feints. So good is his
misdirection, even when one knows the details of the handling, one can
still be fooled repeatedly. This trick is a fine example ofJohn's talent for
carving to the heart of an effea, and paring away the extraneous fiom it.
The element of misdirecrion was given little attention by Victor Farelli
in his monograph, John ~arnsa~?-~ylindcr and Coins, much to Mr.
Rarnsay's dismay; and even in Andrav Galloway's worshipfbl tribute, Thc
Ramray Chits, much of Ramsay's charismatic misdirection in this trick
must be intuited by the reader. (Nevertheless, Mr. Galloway's books on
John Ramsay are strongly recommended to anyone who wishes to
understand the exceptional thinking ofthis master of misdirection.) John,
in his interpretation, has made a concerted effort to apply misdirection
following Mr. Ramsay's precepts. In teaching the Carney handling, these
points of misdirection will be given an importance that we believe Mr.
Ramsay would approve.
 Needed are four silver dollars. a matching
D

hollow stack ofcoins, a cylinder that fits over

the stack, a wand and two duplicatedisks of
ark.
The hollow stack consists of three silver
dollars with most of their centers drilled out,
topped by an intact fourth dollar. These
coins are permanently glued together in a
figure 38
straight stack (Figure 38). Some magicians
think it more convincing if the coins are glued in a slightly staggered
configuration; and for years manufacturers of magic props have
constructed hollow stacks that are riveted near one edge, so that the coins
may be spread. In John's opinion, both embellishments are functionless.
The stack is never long exposed to the audience; and if you handle the
straighr stack correctly, it can be entirely convincing. O n the other hand,
if your handling arouses suspicions of a solid stack, staggering and rivets
aren't likely to repair the damage done.
The disks of cork are sections cut fiom any bottle cork of suitable size.
The disks must fit loosely inside the hollow stack of coins. A slice of cork
approximatelythree-quarters of an inch in diameter and three-sixteenths
of an inch thick is a good size.
The cylinder should fit easily over the hollow stack and the loose coins;
yet it should be a close enough fit that you can, with a light squeeze of
the fingers and thumb at its base, hold the hollow stack securely inside
as you raise the rube. The cylinder measures two and a half inches to three
inches in height. The cylinder John uses is made of black leather, but a
length of cardboard tubing will work just as well. Mr. Rarnsay used a
cardboard tube, which he painted silver. The silvering was an extra
precaution: it aided in camouflagingthe rim of the hollow stack, should
its bottom edge be exposed accidentally when the stack was picked up
inside the cylinder.
Set the props for performance as follows: Stack the four loose coins and
place one of the cork disks on top of them. Set the hollow stack over the
cork and on top of the coins. Put the second cork disk on top ofthe hollow
stack (Figure 39), and set the cylinder over everything. This assembly
should be resting on the tablewhen you begin. Thewand can be anywhere
convenient.
As you introduce the trick, with your right hand, pick up the wand
and place it under your lefi arm, pressing it to your side with about two-
 STREAMLINED
~ I N D E AND
R COINS 53
thirds of its lengrh extending forward. Then push back your sleeves,
making it clmr with this gesture that theywill play no part in what is about
to be seen; and simultaneously let your hands be seen empty. Now slide
the cylinder and its contents to a position slightly to your right and, with
the right hand, lifi the cylinder while squeezing its sides to retain the
hollow stack inside.
"In this trick we use a little slice of cork..." With your left hand, pick
up the cork and display it on the center joints of the fingers. Then set the
cylinder over the cork, while allowing the hollow stack inside to slide
down, covering the cork
"...and a cylinder with no top or bottom." To emphasize this simple
fact, insert the tip ofyour right forefinger briefly into the cylinder. At the
same time, place your left thumbtip on the upper rim, anchoring the
cylinder to the base ofthe lefi fingers. Now invert both hands at once while
withdrawing the forefinger
from the cylinder and letting
the second cork fill onto the
right fingers. In the same
action, curl the lefi fingers,
tightening them across the
bottom of the tube and
squeezing it to prevent the
hollow stack from falling
through (Figure 40). This
apparent dropping of the cork
through the cylinder estab-
lishes in a nonchalantway that
the tube is empty.
Immediately turn your left
hand palm-up again, bringing
the cylinder upright. With
your palm-up right hand, grip
the wand at a point near your
lefi arm and t&e it from under
the arm.Let the cork lie openly
in the right fingers as you take
the wand At the same time,
move the left thumb from the
j p r e 40
top of the cylinder to its base
and, with the thumb, tip the
top of the cylinder forward,
toward the audience, leaving
the hollow stack concealed in
the cupped lefi fingels (Figure
4 1). Insert the outer end ofthe
wand through the cylinder,lifi
it from the left hand and spin
the cylinder briefly on the
wand, showing it unques-
tionably empty. jgrm 41
"Now, the trick isn't with the cylinder or the cork" Here, reverse the
previous actions, using the left hand to remove the cylinder fiom the wand
and tipping it upright on the lefi fingers, over the finger-palmed stack
"The trick is with these four silver dollars." Using the tip of the wand,
knock over the stack of coins on the table, causing them to spread lefi-
ward. Then replace the wand under your left arm and hold the right hand
palm-up, displayingthe cork again. Without a pause, invert the right hand
over the cylinder, tossing the cork into it. Then, with the right hand,
immediatelygrasp the cylinder at its base and raise it from the left fingers,
lifiing the hollow stack as well. This leaves the duplicate cork disk exposed
on the fingers, while its twin lies inside the cylinder, on top of the stack.
"The cork is a sort of marker. It becomes important a little later on."
Lay the left hand's cork onto the table, a bit to your right; and set the
cylinder (and hollow stack) over the cork
"Sowe have four silver doliars..." With the fingers of both hands, spread
out the row of coins evenly before you. "...and a little piece of cork" With
your right hand, lift the cylinder and stack an inch or two, briefly exposing
the cork on the table as you mention it; then lower the cylinder back over
the cork.
"Now, these are real coins, not rubber novelty-store coins." With your
right hand, pick up the coin at the right end of the row and tap it on the
table or another coin to demonstrateits solidity. Then turn the right hand
palm-up, gripping the coin by its bottom edge between the tips of the
forefinger and thumb. Display the coin broadside to the audience as you
gaze at it and say, "If I wantedsomething this solid to disappear, I couldn't
do it myself." Begin to move your left hand toward the coin. At the same
moment move your gaze from the coin to the audience, making eye
 STREAMLINED
CYLINDER
AND COINS 55

figure 42 figure 43

conract. Thissudden shifi ofyour gaze misdirects the audience's attention

momentarily away fiom the coin. It is at this moment that you execute
the Ramsay pivot vanish. It is disarmingly simple: While the right hand
remains stationary, the lefi hand moves in fiont of the coin to grasp it,
palm toward you (Figure 42). Begin to close the left fingers smoothly
around the coin, with the fourth finger leading the rest. As the inner
phalanx of the fourth finger contacts the edge of the coin, relax the right
fingers' pressure slightly and let the coin pivot l e h a r d and down, behind
the right fingers (Figure 43). The right fingers do not move as the coin
swivels into its concealed position. Instead, gravity does the work for you.
Continue to close the left fingers loosely, without a pause, and press the
tip ofthe left thumb to the middle phalanx ofthe forefinger, as ifgrasping
the coin in a relaxed grip.
"I'd have to use the magicwand." As you say this, lookat your lefi hand.
Simultaneously move the right hand from the lefi hand and toward the
wand. During this action - and not before - use the right thumb to
slide the coin slightly inward and into finger palm. However, the thumb
must be out ofthe audience's sight for the briefest possible moment. Once
the coin is in finger palm, the thumb resumes its place, pressed lightly to
the tip ofthe forefinger, until it is needed to grip the wand. Ifthespeaators
lose sight of the thumb, they will assume it is doing something covert,
and this assumption would be dismayingly accurate. With the palm-up
right hand, grasp the wand as you did before and bring ir fiom under the
arm. Wave it gracehliy once or twice over the lefi hand. On the final wave
John makes a toneless whistling sound, as if he were forcehlly blowing
out a candle: Whoosh!"This punctuates the moment ofthe vanish. Pause
for a moment, building a bit of suspense. Then open the lefi fingers and
display the hand fiont and back, showing the coin gone. (This dramatic
pause, though it will not be mentioned again, is a technique used with
each of the vanishes in this routine.)
As you direct all attention to the lefi hand, casually turn the right hand
to a relaxed palm-up position, letting the palm be seen empty. The coin
is hidden naturally in the curled fingers as they hold the wand (Figure 44).
One thing that impresses the viaver when watching John do this
vanish - and for that matter the entire trick - is that his actions are
relaxed and unhurried. He affects an attitude that the coin really is gone,
and this contributes heavily in swaying the audience toward this
conviction. This attitude is the essence of good sleight-of-hand: one must
have the audacity to hold an object secretly while giving no clue, not even
the smallest hint, that one's hand isn't completely empty.
"I'll do that again, even though nobody asked." Place the wand once
more under your lefi arm; then, with the lefi hand, pick up the second
coin from the table and transfer it to the right hand, where you hold it at
the tips of the thumb and forefinger, in position for the Rarnsay pivot
vanish.
"Here's the second coin. I can make these vanish separately, individually
or one at a time." As you say this, watch the coin you are holding, while
you move your lefi hand toward it. Then look up and make eye contact
with someone in the audience. 'Which would you prefer, sir?Separately,
individually or one at a time?" It is as you look up and ask the spectator
this question that you execute the pivot vanish, again misdirecting away
from the sleight. As soon as the lefi hand pretends to grip the coin, turn
 STREAMLINED
CYLINDER AND COINS 57
your gaze on it and move your right hand inward to take the wand from
under your arm. Within this movement, slide the newly vanished coin
gently downward and over the finger-palmed dollar. Given a light touch,
no discernible noise will be made. (Well-worn coins -"soft coins" as they
are sometimes called -also help to silence such maneuvers.) Once you
have taken the wand from beneath your arm, stop moving for a few
moments as you wait for the spectator's answer. We'll assume it is "One
at a time."
"One at a time? I've never done that before. 11' 1 have to improvise a
little bit. Here we go." Focus attention on your left hand as you wave the
wand over it, at the same time giving the audience a glimpse ofyour empty
right palm. " Whoosh!There it goes." Open the lefi hand and display it
on both sides, showing it empty. Agam the right hand comes to rest palm-
up, holding the wand and letting its empty palm be seen (a favorite
stratagem of Ramsay's).
"The second coin is gone. That leaves me with just two coins." Here
you replace the wand under your left arm as your lefi hand stacks the two
remaining coins on the table, then picks up both by their edges, thumb
on one side, fingers on the other. Raise the left hand, turning it palm-up
and presenting the two stacked coins broadside to the audience, in what
might be called French drop grip.
Begin to move the right hand toward the left as you look at the cylinder
on the table and say, "Oh, don't forget the little piece of cork over here."
As you direct attention momentarily away from your hands, you execute
a subtle coin exchange. Outwardlyyou appear to take one ofthe lefi hand's
two coins and hold it at the right fingertips. In reality, much more
happens. As the right hand moves toward the lefi hand, the right fingers
straighten and the right thumb pins the two finger-palmed coins to the
middle phalanges of the
fingers. This position of the
thumb behind the fingers will
be interpreted by the spectators
as a natural action preparatory
to gripping rhe left hand's
coins. The right fingers move
over the left hand's two coins,
screening them momentarily
from the audience's view
(Figure 45).
 Jgun 46 j i " ~47
The instant the coins are covered, the lefi thumb swiftly lowers them
flat into lefi-hand finger palm. (Some slight noise is permissible, as two
coins are openly being handled.) The lefi fingers and thumb then imme-
diately grip the right hand's palmed pair edgewise, substitutingthese two
coins for the ones just released. The right hand moves back to the right,
brushing the tips of the fingers over the surface of the forward coin, and
draws that coin away (Figure 46), holding it gripped at the fingertips
(Figure 47). Without hesitation, the lefi thumb snaps its remaining coin
from French drop grip to a fingertip grip identical to the right hand's.
Then, together, both hands turn briefly palmsdown, still displayingtheir
coins. All this is done as a smooth continuous action, in the space of about
a second.
Pause briefly then return the right hand's coin to the left hand, forming
a two-coin spread at the fingertips. Both the secret exchange and the brief
display of the coins is done while you continue to stare at the cylinder.
Throughout all this you act as ifyou are going to show the coins, but then
you interrupt the display as you remember the cork under the cylinder.
Referring to it you continue, "That becomes important just a little later
on." With your empty right hand, grasp the cylinder just below center
and raise it for a brief moment, lifiing the hollow stack as well, to show
the cork on the table. Do not, of course, squeae the cylinder so tightly
that the pressure can be perceived by the audience.
Replace the cylinder and stack over the cork, and during this action,
let the right hand be seen clearly empty. This brief display of the cork is
purposely used to save the effect from being "too perfect". Later, when
the spectators think back, trying to reconstruct how the trick might have
been done, they may remember that you did pick up the cylinder after
several coins had vanished, and while the movements used were
 CYLINDER AND COINS
STREAMLINED 59
impeccably dean, the action provides a Mse trail of thought: "He might
somehow have slipped the coins under the cylinder when he picked it up
that time." While this line of reasoning leads to no genuinely tenable
solution, it does distraa the mind from the true method. If the cylinder
were lefi untouched until the stack of coins is revealed under it, there is
one less route for conjecture,and that much more likelihood that the real
method might be surmised.
You now resume the action you have interrupted: "Two coins lefc..."
Appear to take one of the visible coins back into the right hand, but instead
you make another secret exchange. This maneuver is an idea of Roger
Klause's. Move the fingers of the palmdown right hand in front of the
spread pair of coins, concealing them for a brief moment from the
audience. Without hesitation, place the two coins at the lefi fingertips
directly into right-hand finger palm. Immediately bend the lefi second
finger and thumb inward, grip the lefi hand's finger-palmed coins by their
outer edges (Figure 48) and straighten the thumb and finger, carrying the

pair toward the lefi fingertips. Agan without hesitation, grip one of these
coins between the right thumb and second finger and separate the hands,
displaying one coin at the fingertips of each. The two vanished coins are
again in right-hand finger palm, afier both hands have been seen empty.
This pair of hand-to-hand exchanges, when done casually and
unfalteringly, is a most convincing and subtle way of showing the two
coins really have vanished. However, do not treat these actions as proving
displays.
The third coin wiU now vanish, through a method of John's invention:
"...and in order to make these disappear I wave this one..."Indicate by
gesture the right hand's coin. "...over that one, counter..."Turn slightly
to your lefi, and circle the right hand's coin slowly around the left's,
moving the right hand over the lefi hand and inward, then under the lefi
hand and outward. But suddenly stop this motion as if you are uncer-
tain. "Yes,I'm pretty sure that's right -counterclockwise." Let the lefi
hand's coin drop onto the left palm and snap the lei? fingers dosed over
it. Then resume the rlght hand's orbits around the lefi hand. Afier two
or three circuits, stop. "And as you can see, it completely..."Turn the left
hand palm-up and focus all attention on it. Now open the hand, r e d i n g
the coin on the palm. "Oops!" As the lefi hand opens, let the right hand
drop a short distance to waist level, where it relaxes at the wrist, turning
the fingertipsslightly inward toward your stomach. This small adjustment
in the position of the hand conceals the coin at the fingertips fiom the
audience, and moves the hand just beyond the focus of attention. Secretly
pull the coin i n d , sliding it silently onto the finger-palmedstack Leave
it there and press the tip of the thumb once more against the fingertips.
Now look up at the audience as you say, "I'm sorry -it's clockwise,
I guess." As you misdirect away from the hands in this manner, close the
left fingers loosely over their coin, simultaneously turning the hand
partially palmdown (the back of the hand is turned more lefnvard than
upward). In doing so, let the coin drop onto the fingertips and shift it
quickly backward into heel grip; i.e., caught between the heel ofthe hand
and the fingertips. At the same time, swing the right hand outward at the
wrist, so that the right fingertips, for just an instant, contact the heel of
the left hand. Without the smallest hesitation, transfer the heel-clipped
coin to the nght fingertips (Figure49). Timing here is crucial to thesuccess
of the sleight. In an uninterrupted action, move the right hand forward,
starting a circuit around the lefi hand in a direction counter to the previous
circles. Look down at the hands again, drawing attention to them while
the right hand makes three slow circuits ofthe lefi. Say, "That's the proper
way -and, whoosh!-
it disappears!" Turn the
lefi hand palm-up and
slowly open it, show-
ing it empty. Let both
sides of the hand be
clearly seen.
"That leaves one last
coin. Now, some magi-
cians would try to trick
vou at this 1~ o i n - t
yeh, no ki&ing'" jigure 49
 STREAMLINED
CYLINDER AND COINS 61
As you say this, hold your right hand palm-up, with the last visible coin
displayed at the fingertips, in position for the pivot vanish. "Afier they
put it in their hand..."Bring the left hand in front of the coin and dose
rhe leh fmgen, apparently t & n g it. However, this time, as you perform
the pivot vanish, silentlyslide the coin immediately onto the finger-palmed
stack You can keep the hands together a bit longer than usual this time,
because you wish to create a bit ofsuspicion. This affords you a few extra
moments to palm the coin noiselessly. Notice that you do not misdirect
away from the sleight, for this time you are performing a feint.
Separate the hands, following the lefi with your eyes. As the right hand
moves a few inches to the right, place your thumb on the fir edge of the
stack of palmed coins and raise it, tipping the stack up on edge. The coins
are held securely between the thumb and the base of the fingers (Figure
50). This is not a Frikell (akaRarnsay) thumb palm. The coins are not
held deep in the fork of the thumb, but are well forward of it.
"...they try to sneak it back out."
Bring the right hand over the
closed lefi hand, which at this point
should be turned back outward,
and touch the right fingers to the
back of the fist. This brings the
stacked coins directly to the left fin-
gertips, where they are then clipped
$gun 50
in leh heel grip
- -
(Figure
-
51). Let the
hands linger together for a
moment, then separate them,
turning both palm-down while
closing the right hand into a fist.
Follow the right hand with your
eyes. Where there was mild
suspicion before, it has now been
stoked into full-fledged doubt.
Pause for a moment and
continue to stare at your right f ~ t .
Then say, "I don't do that," and
open your right hand, palm-
outward, showing it empty as you
shake it back and forth in a gesture
figure 51 of denial. Look up at the audience
now and smile. Their gaze follows yours, and they look up at you. Having
exposed the feint, their attention on your hands lapses for a moment. They
laugh and relax - and you take advantage of this misdirection.
"It's here," you say as you tap the back of your left fist with the right
fingers. In that instant you steal back the stack of coins: the right thumb
passes below the left f ~ tcontacts
, the far edge of the stack, and catches it
again in the oblique forward thumb palm explained above (Figure 50
again). There must be no lingering this time. The transfer is done quickly
and surely, as you continue to look at the audience, not at your hands.
When the right hand moves away from the lefi, use the right thumb to
lower the stack flat onto the fingers and back into finger palm. These
actions are simply the reverse ofthose in the preceding right-tdeft-hand
transfer.
In a continuous motion, raise
the right hand, turning it palm
toward the audience, forefinger
extended upward in a gesture of
emphasis. The hand appears
empty, for the stack of coins is
concealed in the loosely curled
second, third and fourth fingers
(Figure 52: the Ramsay subtlety
again). This gesture is accompa-
nied by the singleword, "Look!" &re 52

This pose is held for no longer than it takes to say the word, and must
not appear staged or purposell.
Now look at your left hand as your right hand, turning partiallypalm-
up, moves to take the wand fiom under your arm. Insert the end of the
wand into the curl of the left forefinger and thumb. "All I do is push the
wand throu gh..." Push the wand halfway through the left fist, then turn
the fist over so that you can grasp the opposite end of the wand in your
right hand. Pull the wand to your right and from the left fist. Do this in
such a manner that no suspicion of manipulation can be entertained.
"...and wave it over the top..." Do so. "...and, whoosh!There it goes."
Open the left hand and show it fjront and back. The coin is gone.
"Now, I know where they go, because I've seen the trick before:
underneath the little piece of cork right over here." With your left hand,
grasp the cylinder. Pause for an instant, to build suspense. Then lift the
 STREAMLINED
CYLINDER AND COINS 63
cylinder, revealing the hollow stack with the cork sitting atop it. Slip the
cylinder over the wand and spin it briefly. This serves as an applause cue.
With your lefi hand, pick the cork disk off the stack as the speaators
respond, and place it on the table, roughly a foot to the lefi of the stack.
"Now I'll explain that once again for the slower students. This time,
instead of covering the cork, I'm going to cover the coins." Remove the
cylinder from the wand and set it briefly over the cork as you mention it.
Immediately lift the cylinder from the cork and place it over the hollow
stack; but seem to have a bit of trouble and remove the cylinder, setting
it down just behind the stack Then &me the stack with the lefi fingers
on all sides and pretend to straighten the coins. This, of course, is pure
bluff,but must be acted convincingly. It is a touch that can throw even
knowledgeable observers off the track Following this little ruse, replace
the cylinder over the stack
"The coins are covered here, and the cork is in my hand." With the
left hand, pick up the exposed cork disk by its edges and display it in
French drop position. Also place the wand under your left arm. Concen-
trate your gaze first on the cylinder, as you cover the stack; then turn it
to the cork in your left hand.
When the right hand leaves the wand behind, the thumb contacts the
fir side ofthe finger-palmed stack and tips it up on edge (Figure 50 again).
This allows the right fmgers to straighten briefly, assuming a more natural
position as they prepare to take the cork from the lefi hand. This palming
position is maintained for only a moment, while the right hand moves
to meet the left.
Raise your eyes from the cork to look at the audience as you say, "I'll
caution you, don't blink or you'll miss it." The shift in gaze and your
words again misdirect from the hands as they execute a sleight: pretend
to take the cork into the right hand, but actually perform the French drop,
letting the cork fill into the cupped left fingers as the right fingers screen
the action and close as if grasping it. In fact, the fingers dose around the
stack of coins. It is important to the illusion of the French drop that the
lefi thumb d m not move, and that the left hand remains stationary for
a second after the sleight is executed, permitting the empty space between
the lefi thumb and fingers -where the cork was seen a moment before
-to be perceived by the spectators.
''Watch!" Turn your gaze to the clenched right hand and move the
fmgers in a sort of crumpling action. Suddenly snap your right forefinger
off your thumb and at the same time make the coins rattle loudly. Pause
for a brief moment.
"The coins are here..." Open the right hand palm-up and let the four
coins cascade off the fingertips onto the table.
"...the cork is back.." With your right hand, lifi the cylinder and the
hollow stack, exposing the cork on the table.
"...and the trick is over." Set the cylinder and hollow stack onto the
curled left fingers, covering the hidden cork there. Immediately use the
left thumb to tip the cylinder fonvard, while leaving the stack and cork
concealed in the curled fingers (Figure 41). With your right hand, remove
the wand from under your arm, insert it into the cylinder and spin the
cylinder on it, visually concluding the trick. Take the cylinder back into
the left hand, slipping it over the hollow stack and cork; then pocket the
lot, or put them away in a bag or your case.
O r do this: With your right hand, pick up the cork from the table and
drop it into the top of the cylinder. Immediately lift the cylinder, taking
the hollow stack with it, and expose the duplicate cork on the left finger-
tips. With the left hand, gather the loose coins into a stack on the table,
set the cork on top ofthem, and place the cylinder (with the hollow stack)
over the coins and cork You are now reset for the next performance.
Use both hands to pick up the consolidated items as a unit and put
them away. Do not, of course, squeeze the sides of the cylinder to pick
everything up, as this would expose one of the principles used in the
routine. The entire process of tidying up is done casually, almost absent-
mindedly, during the final applause, without giving any attention to the
actions.
Despite the length of the description, this trick consumes less than three
minutes in performance, andwithin that time a lot ofmagic happens. The
sleights are not difficult, but it requires practice to do them in a relaxed
and unfaltering manner. It is the mastery of the misdirection,though, that
will take the most study and rehearsal. It is vital to the success of this
exquisite piece of magic. John believes that the Rarnsay "Cylinder and
Coins" is one of the single finest lessons on misdirection in all magic. If
you master it you will have acquired techniques of inestimable value to
every trick you perform, repaying you fir in excess of the time and effort
you will expend W