TRICKS WITH COINS.
THE INVISIBLE FLIGHT: THE GLASS--THE BOXES--OTHER
APPARATUS USED IN THE TRICK--THE BANKER--HOW TO COLLECT
MONEY--THE MONEY TUBE--THE MULTIPLYING TRAY--HOLD THEM
TIGHT! OR, SKILL VERSUS STRENGTH--THE MONEY CHANGER--HINTS
UPON MANNER--THE CRYSTAL PLATEAU--THE MONEY-PRODUCING
CANDLE--THE FLIGHT--COIN AND WORSTED BALL TRICK.
_The Invisible Transit._--This is a remarkably effective coin trick.
Several coins are inclosed in a little box, which is stood in a
position close to the audience. An empty tumbler is placed upon a
chair or table far away on the stage, and the performer, abstracting
the coins one by one from the box, "passes" them into the distant
glass, into which they are heard to fall. On the glass being brought
forward, the coins are poured from it, and the box into which they
were put is found to be empty.
The tumbler used should be coloured and opaque, or semi-opaque. Into
it is fitted a zinc plate, depicted at Fig. 46. This plate is,
it will be seen, divided into two unequal portions, which are then
hinged together. B is an arm which, in the position shown in the
sketch, prevents the flap C from opening; and E is a tiny pin fitted
into C for the purpose of preventing the arm B going too far, and so
becoming difficult to control. At D is a pin which, first connected
with the arm B, runs through the plate, and then through the bottom
of the tumbler. Underneath, it is provided with another arm (A,
Fig. 47), the position of which should correspond with that of B.
The pin D should be considerably larger than the holes (they should
be round ones) in the glass and zinc plate, and those portions of it
which are to pass through the said holes must be filed down to the
necessary thinness. By this means two shoulders will be formed, which
will prevent the plate from coming down too far, and thus keep a space
clear between it and the bottom of the tumbler. This space should be
about three-quarters of an inch in depth. The best method for fixing
A to D is to have a tiny hole through the protruding end of the
latter, through which a cross-pin can be passed. It will be seen that
so long as the arm B is kept against the pin E, or anywhere near it,
the flap C cannot possibly open, even though the tumbler be inverted.
The shifting aside of the arm A will cause a simultaneous and equal
movement on the part of B, and, when the glass is again inverted,
whatever has been concealed in the space beneath C will fall out.
[Illustration: FIG. 46.]
[Illustration: FIG. 47.]
The performer will also require two little boxes, resembling each
other in every particular. If nothing else be at hand, then little
fancy cardboard boxes may be used, but it is by far the best to have
a couple turned out of some light wood. The turner should receive
directions to turn them both out of the same length of wood, which
should have some slight imperfection running through it, as this will
cause each box to be naturally marked in a similar manner. Should
one lid have a little knot in it and the other be without such a
blemish, it can be faithfully imitated by making a hole in the wood
and running a little shellac into it. The boxes should be turned as
lightly as possible, consistent with strength, and should just admit a
half-crown. The interior depth should be that of six half-crowns. One
of these boxes the performer conceals under the vest band. The tumbler
he loads with four or five half-crowns, placed in the space under C,
and the arm B is turned into position against E. This glass is placed
upon the table. In one outside trouser pocket is a half-crown.
The preparations made, the performer advances with five other
half-crowns and one of the little boxes, and gives the whole into
the hands of a member of the audience, with the request to have the
box examined and the coins placed in it. Whilst this is being done,
the concealed box is got down from the vest into the left hand. The
box, with the money in it, is taken by the right hand, and apparently
put into the left. It is, however, palmed, and the empty box shown
instead. The performer executes this movement as he is passing to
another portion of the audience, to whom he will explain matters
briefly. This passing about the room is highly essential in concealing
many movements, and the conjuror's actions should be well mapped out
beforehand, and not left to accident. As I am describing the trick,
the money should be put in the box by someone on the conjuror's right.
It then becomes natural for the performer to place the box in his left
hand, in order to exhibit it to those on that side of the room. The
learner will find, as he progresses, how highly important it is to pay
attention to these apparently small, but by no means insignificant
matters. The performer's motions should balance, as it were; and
his great study should be to make actions that are absolutely
indispensable to him appear to be perfectly natural, if not the only
ones that could be suitable to the occasion.
The empty box is then placed in the fingers of the right hand, in
which the box containing the half-crowns is still concealed. The
performer brings a chair close to the audience, and places upon it the
empty box, first shaking the hand once or twice to show that the money
is still inside. The coins rattling in the hidden box will appear to
be in the one which is really empty. Care must be taken to keep the
back of the hand towards the audience, and to allow it to hang down
considerably, so as to do away with any possibility of an accidental
exhibition of the palmed box.
The performer now proceeds to his table, pocketing the box with coins
as he does so in as noiseless a manner as possible. He then takes
the tumbler in one hand, and, rattling it hard with his wand all the
time, turns it upside down to show that it is empty. On turning it
back again the rattling must be repeated. This rattling, the reader
will readily comprehend, is for the purpose of covering the slight
clinking of the coins that are confined within. It is a good plan to
have a piece of baize or cloth on the bottom of the tumbler, inside.
This will deaden the sound of the clinking when the tumbler is being
replaced upon the table. The performer now returns to the little box,
previously getting the half-crown from the pocket into his palm, and
feigns to abstract one coin from it, the palmed coin being shown.
This, with appropriate explanation, he "passes" into the tumbler,
into which it is distinctly heard to fall. The whole of the coins
are, one by one, abstracted from the box, and made to pass into the
tumbler. The methods of extracting them should be varied. One can
be taken out by means of the wand, another caught in mid-air, the
next be found at the tip of someone's nose, and the next in somebody
else's hair, whilst the last will probably be found attached either
to the performer's elbow or to the sole of his boot. This variety of
movement keeps the audience amused, and, consequently, distracts their
attention, which might, perhaps, be employed in watching other matters
somewhat too narrowly. The same system of variation should be observed
in "passing" the coins, three or four different passes being brought
into use. The last "pass" may be effectively made with the reverse
palm, by the method described on page 8 for throwing the coin away.
The palm can then be shown perfectly empty, the coin being recovered
as the performer proceeds towards the glass.
The mystery of the coins being heard to fall into the tumbler has
yet to be explained. The explanation is, that the conjuror's stage
assistant is concealed behind the scenes, in a position as proximate
to the tumbler as possible, with another glass and some coins. The
performer and assistant must have an understanding between them, and
when the assistant hears the word given he drops one coin into the
glass, allowing a short time for the supposed journey. The word "pass"
is the one commonly used, and is the best, for the conjuror is using
it all through the performance, and it does not, therefore, excite any
particular attention. It is as well to vary the speed with which the
coins travel. The first two should occupy from a second and a half to
two seconds in travelling from hand to tumbler. The next the conjuror
should say will take a little longer, it being a very old coin and,
consequently, weak. Five seconds will be quite long enough for this,
and the next can be despatched with the command, "Presto, pass!" This
should arrive at its destination in half-a-second. If no arrangement
on this head has been made beforehand, the performer must take care
to speak loudly and distinctly. This co-operation of performer and
assistant has already been explained in connection with _The Shower
of Gold_.
Sometimes, with the view, I imagine, of making the trick appear still
more difficult, the tumbler is covered with a borrowed handkerchief,
pocketbook, programme, &c. When this is done, the assistant must cover
his glass with a handkerchief, and so cause the sound of the falling
coins to be muffled. I have seen an assistant commit an absurd error
of using only one coin. The sound caused by one coin falling upon
others in a glass is very different to that of a coin falling into an
empty glass.
The use of the two little boxes in this trick is an idea of my own.
Other conjurors invariably use a box with a hinged lid, which has
a horizontal plate on a level with its upper rim. This plate has
four slits in it, and into each slit is placed a half-crown. By an
exceedingly ingenious mechanical arrangement, a coin is made to drop
into the body of the box each time the lid is shut down. The performer
affects to abstract one in the manner just described. The chief
objection to this box is its great expense; otherwise, it is a very
good piece of apparatus.
Another piece of apparatus that is also frequently used in conjunction
with the trick is what is called the Half-crown Wand. This is a hollow
tin wand, with a sliding piston inside it. One end is divided into
two parts, which are hinged. A half-crown, that has been cut into
three portions, is concealed in this opening top, and by means of a
complexity of hair springs, and the action of the piston, moved by
the thumb from the outside, the three fragments are pushed out, and,
ranging themselves side by side, cause the appearance of a half-crown
on the end of a wand. All I can say about this piece of apparatus is,
that it is a pity the inventor's ingenuity was not directed towards
making something else. I believe, though, that the article sells well,
as it does away with the last piece of sleight of hand left in the
trick, and so gives lazy people and duffers a chance.
_The Banker._--In "Drawing-room Magic," a method for collecting
coins from the air, &c., and passing them into a hat through the
crown, was explained. Before larger audiences, the trick is capable
of being much more elaborated. Going down amongst the audience, the
performer collects quantities of coins from the heads and persons of
the audience. There are various methods of executing this. One is
to keep a coin palmed, and then produce it from the hair, whiskers,
beards, sleeves, elbows, &c., of different spectators, a motion of
throwing it into the hat being made each time it is produced, and
the hat shaken, to cause the resemblance of a coin falling into it.
Another method, which I hardly like as well, although successfully
adopted by some good performers, is to dip the hand into the hat, and
gather some coins quickly in it. These coins are kept in the palm of
the hand, and concealed by the two outside fingers, and the thumb
pushes one forward as it is required for production. The coins, in
this instance, are actually tossed in the air and caught in the hat,
which is of itself a great advantage, but the chances of detection are
considerable. Nevertheless, the effect is very fine when the conjuror
moves rapidly about, picking coins indiscriminately from everyone
around. It is possible to hold a great number of large coins in the
hand without detection ensuing. The third method is somewhat similar.
The coins are gathered in the hand from the hat, but, instead of being
reproduced singly, they are all swept from the head of a spectator
into the hat. Coins invariably drop on the floor when the latter
method is adopted, and the conjuror is enabled to take a fresh dip
into the hat unperceived, whilst busying himself about the recovery
of his property. What I recommend is a happy mixture of all three
methods. Whichever is adopted, the performer must be exceedingly rapid
in his movements, never stopping in one place, and accompanying his
movements with a running commentary, such as, "Ah, one more on your
nose, sir. Thank you, sir, just a few in your hair. Madam, a little
one hiding itself under your bow, and, I declare, another in your
fan." A lady's muff, when handy, can be well employed. It should
be taken in the hand containing the coins, which are allowed to
run through into the hat. A good variation, too, is to snatch a hat
from a person's head or elsewhere, and dropping a few coins into it,
immediately toss them about, and then pour them into your own hat. The
larger the audience, the better this money collecting will succeed. It
is a great feature in a performance, and always takes well.
A little piece of apparatus which, although I never use it myself,
many find very useful for the magical production of coins, is what is
known as the "money tube." This is a long flat tube of tin, japanned
on the outside. It is just wide and deep enough to admit of the coins
in use passing easily through it, and no more. At one end, on the
outside, it is furnished with a broad flat hook, for the purpose of
suspending the tube from a buttonhole or slit in the interior of the
performer's vest or coat. The bottom end is furnished with a lever
arrangement on the outside, which for half-crowns would be thus
constructed: In length it would just exceed the width of a half-crown,
and each end be furnished with a peg about a quarter of an inch long.
In the centre is drilled a hole, and on the tube is a bifurcated
projection, also with a hole through it. The lever is placed in its
position, and a pin passed through it and the projection. A joint will
thus be formed very similar in appearance to the centre joint of an
umbrella rib. In the tube (exactly underneath the pegs, which must be
towards the tube) pierce two holes, and under the upper half of the
lever fix a small piece of spring, tolerably strong. The apparatus
is then complete. The spring causes the upper half of the lever to
rise, and, as a natural consequence, the lower half to be depressed.
The lower peg thus prevents anything that may be in the tube from
passing out at the end. So soon, however, as any pressure is put upon
the upper half of the lever the lower peg rises and allows the coin
to escape. The upper peg, descending at the same time, prevents the
escape of any other coins that may be in the tube. The method for
using the tube is to fix it securely under the vest or coat flap,
with the bottom end all but exposed. When the performer requires a
coin, all he has to do is to curl his fingers under the mouth of the
tube, and press the upper portion of the lever, when a coin will
fall into his hand. As the operation is invariably accompanied by
a slight clattering, however careful the performer may be, the hat
should always be shaken for the purpose of smothering the sound made
by the tube. A small band of elastic on the coat or vest will serve
to keep the tube steady. The lever lies transversely across the tube,
and not straight along it. This enables the little pegs to pass into
the triangular spaces left between two coins, the edges of which are
touching. It is not advisable to produce many coins in a short space
of time by this method, as the frequent repetition of the movement of
the hand might easily be noticed.
An effective continuation is to apparently cause the coins to pass
through the crown the reverse way, _i.e._, from the inside to the
outside. For this purpose, the performer must retire well up the
stage, concealing, as he does so, several coins in the palm of the
hand, one being shown at the ends of the fingers. The hat is held
out, crown downwards, in the other hand, and the coin in the fingers
then tossed high in the air. Whilst it is descending the thumb gets
another coin in readiness, and as the coin in the air falls into the
hat the one brought from concealment is put against the crown and
instantly pulled sharply away from it. The effect is as if the coin
thrown in the air had passed through the crown of the hat, and was
caught by the performer as it came through. Considerable practice must
be undertaken, as it is indispensable that the fall of the descending
coin into the hat and the production of the fresh one at the crown
be precisely simultaneous, otherwise the effect will be weakened,
if not altogether spoilt. The hat must contain some coins at the
commencement, otherwise the accumulation of those thrown into the air
and subsequently caught in the hat, would, of course, be noticed. The
effect is improved if the crown of the hat be turned slightly towards
the audience at the moment when the coin is supposed to come through
it. As the eyes of the spectators always follow the coin in the air,
the slight motion of the thumb in getting a fresh coin in readiness is
never perceived. Large coins tell best, and about six should be used.
When the performer has sufficiently amused the audience in this way,
he can proceed with the trick under notice. For it he will require--at
least, he will find it advisable to have--an oval tray of japanned
tin. To all appearances, the tray is only an ordinary one, but it has
a double bottom, the space between the two bottoms being a little more
than the thickness of a half-crown, or whatever coin the performer
may be in the habit of using. The rims of the two bottoms are joined
all round, with the exception of a portion at one end, which is left
open to the extent of a little more than the width of the coin in use.
Two strips of tin, soldered firmly in their places, extend from each
side of this opening, in parallel lines, to the other end of the tray,
and so form a passage between the two bottoms capable of receiving a
quantity of coins, ranging in number according to the length of the
tray or the will of the performer. When the tray is tilted to any
extent, the open end being the one that is depressed, the coins will
naturally slide out one after the other. If the space between the
double bottoms is too deep, the rearmost coins will overlap those in
front, and so cause an obstruction. The tray is loaded with (say)
five coins, and so brought on. Fifteen (a few more or less will not
matter) coins are then taken from the hat, and placed upon the tray,
which is then put into the hands of a spectator, who must be enjoined
to rise for the purpose, and to keep very steady, so as not to upset
the coins. A boy's cap is then borrowed, and put into the hands of
another spectator, who is placed in a position close to and facing the
holder of the plate. In the absence of a cap, a handkerchief, held in
the form of a bag, will answer as well, if care be taken to arrange
it so that none of the coins can escape and fall to the ground. The
performer retires to the stage, and explains that, when he counts
"three," the holder of the tray is to pour, as rapidly as he can, the
fifteen coins into the cap, the holder of which is directed to close
the cap immediately this is done. As the performer has taken care to
place the tray in the assistant's hands, with the opening from him,
it follows that, when the fifteen coins are poured from the surface
into the cap, the five from the concealed receptacle will accompany
them. A very distinct mark should be made upon the tray so that the
performer can readily distinguish one end from the other. When the
cap is closed, the performer counts five more coins into his hand,
and "passes" them into the cap, the holder of which is then requested
to count out the coins upon the plate, to show that the number has
been increased by five. All counting of coins should take place both
before and afterwards, or the audience may fail to perceive what
has been done. The trays sold at conjuring repositories are nearly
always round; this is a bad shape, as there is nothing to induce the
holder of the tray to tilt it as the performer desires. When it is
oval, it is only natural to pour the coins off the narrow end. It is
also impossible to notice from any distance if a round tray has been
shifted, accidentally or otherwise. A couple of inches difference will
cause the trick to fail, for the coins will not pour out; and some
people who are in the secret are malicious enough to be capable of
wilfully turning the tray round for the purpose of spoiling the trick.
The name of "The Banker" is given to the trick, because the performer
supposes the holder of the cap to be the banker, and he then shows how
he pays in his money. The great effect of the trick is derived from
the fact that the performer never approaches the custodians of the
money after once giving it into their hands.
_Hold them Tight!_--The performer takes a few coins--four half-crowns
or florins will be found the most suitable--and also a strong
white cotton handkerchief. He then asks the assistance of one of
the spectators, stating his predilection for a very strong man. The
more burly the volunteer, the better he will suit the conjuror's
purpose. Seat him on a chair a little on one side, and facing the
audience. Place the coins in the centre of the handkerchief, which
then invert, and grasp the coins through it from the outside. This
is done openly and deliberately, and the assistant is requested to
hold the handkerchief firmly between the two hands a few inches
below the coins. He is then asked if he thinks it possible for the
performer to pull the coins through the handkerchief without making
a hole, or to get them out without interfering with the assistant's
hand. The answer will invariably be a negative one, and the performer
then says, "Very good; that is your opinion. I will now see what the
audience think about it." With this, the performer steps forward with
the coins and the handkerchief, and explains to the audience that it
is a trial of Strength _versus_ Skill between the strong man on the
stage and himself. He then requests someone to place the coins in
the handkerchief, so that there shall be fair play, the handkerchief
being spread over the performer's left hand for the purpose. When the
coins are placed in the handkerchief, they should be grasped through
it by the thumb and first and second fingers. The performer then turns
suddenly to the person on the stage, and says, "I trust you are not
nervous, sir; you look very pale." This will cause everyone to look
at once at the person addressed, who will, if under the glare of
footlights or other strong gas, infallibly bear a pale appearance.
But whether he looks pale or not will not matter, the diversion being
made for the purpose of distracting the attention of the audience
from the performer for a moment or two. Whilst all eyes are directed
towards the assistant, the performer turns the coins over twice in the
handkerchief, a fold of which is taken at each turn, and the coins
thus enveloped. The coins are then grasped in the right hand, and a
good shake given to the handkerchief for the purpose of straightening
it as much as possible. The result of this manoeuvre is that the
coins are simply hidden in a couple of folds on the _outside_ of the
handkerchief, the supposition indulged in by the audience being that
they are _inside_, and that the handkerchief has been merely inverted
as before. This folding and turning is not easy to accomplish quickly
and neatly. The coins must be held firmly, and the fingers then turn
them over inwards, the thumb being raised to allow them to be pushed
well under it. Before the fingers are removed, the thumb descends
and nips securely that portion of the handkerchief pushed over with
the coins by the fingers, and retains it whilst the second turn is
being made, the same process being repeated. With the fold well made,
the performer may venture to allow that portion of the handkerchief
containing the coins to hang downwards, and even give a slight jerk to
cause the coins to jingle. This will totally disarm suspicion. It is
much easier to hold the handkerchief, with the coins, in one hand and
make the folds with the other, but the proceeding is unbusinesslike
and provocative of suspicion.
The handkerchief is then put into the hands of the seated assistant,
as before, the performer holding that portion containing the coins.
A tremendous mock struggle ensues, the performer allowing himself to
be pulled nearly over once or twice, which will cause him to remark
that he has made a mistake this time, and has met with someone a
little too strong for him. All the time he is working a finger into
the folds, which he quietly undoes, and, under cover of the left
hand, gets the coins out into the right. With this hand he takes his
wand, which is held under the armpit during the trick, and continues
pulling with the left. After a while, he says that it is no use, and,
relinquishing his hold, asks to have his money given back to him. Of
course, the assistant knows nothing about it; but the performer points
out the fact that there is no hole in the handkerchief, consequently
_he_ cannot have the coins. Under the plea of finding out where they
are concealed, the performer taps with his wand on various portions
of the assistant's person. When he reaches either the elbow or the
knee, he allows the coins in the hand to rattle against the wand at
each tap, and it will appear to the audience that they are concealed
up the assistant's arm or leg. Grasping the sleeve or trouser, the
performer turns it up a little, and rattles the coins out on the
floor. If found in the trouser, the assistant should be asked to place
his foot upon a chair. It is very easy to jerk the coins a few inches
up the sleeve or trouser leg as it is being turned up; they will then
fall out naturally. The reason I give directions for using a strong
pocket handkerchief is because the continued pulling will sometimes
cause a sharp-edged coin to cut through. I never use any but my own
handkerchief, for this reason.
There is another method of folding the coins in the handkerchief,
which surpasses the one above described for neatness, and it may be
executed in full view of the audience, with their eyes specially
directed upon the performer's hands, instead of momentarily diverted.
The coins, in this instance, are taken between the finger and thumb
of the left hand, and held perpendicularly. With the right hand, the
handkerchief is thrown over them. This the performer does close to his
temporary assistant upon the chair; upon which he says, "That is all
very well: you know that the coins are safe inside the handkerchief;
but I must also convince the rest of the company." Suiting the action
to the word, the performer advances a few paces, performing, as he
does so, the following manoeuvre: With the right hand inverted,
_i.e._, the palm turned upwards, the coins are seized between the
first and middle fingers. Simultaneously the left hand is shifted a
couple of inches backwards, and the right hand, turning over in that
direction, places the coins once more between the left finger and
thumb, but this time there are two thicknesses of the handkerchief
intervening. That half of the handkerchief which is hanging on the
side nearest to the company is now raised by the right hand, when
the coins will be exposed to view. The act of shifting the left hand
back a couple of inches has caused the fingers of the left hand to be
covered by a false fold of those dimensions. The company, therefore,
cannot see the said fingers, the performer making doubly sure by
holding his hand as low as possible, without exciting suspicion. Now,
after having shown the coins, if the performer merely turned back the
half he had lifted, no particular result would be arrived at; but the
learner, who is, of course, following me with coin and handkerchief in
hand, will at once see that, if that half of the handkerchief which
is hanging on the side nearer the performer be turned over along with
the one that has been raised to show the coins, in the direction of
the company, the result achieved is that the coins are on the outside
of the handkerchief, but enveloped in the 2in. fold. This turning
back of two halves, instead of one, being the vital part of the
whole thing, must be done with great carelessness. Indeed, the action
of turning the rear half over with the right hand is a mistake: all
that is necessary is to drop the left hand with a good shake, when
both halves will fall on the same side, as naturally as possible.
These little things require a good deal of explanation, but it is a
really very simple manoeuvre, which I divide into four distinct
movements, viz.: First movement--placing the coins under handkerchief,
in left hand; second movement--turning over coins with right hand,
and seizing again with left thumb and finger (see Fig. 48); third
movement--dropping left hand and raising front half of handkerchief
with right hand; fourth movement--releasing handkerchief with right
hand and shaking two halves over with left. When the fourth movement
has been completed, the right hand should seize the handkerchief
just below the coins, which can then be struck upon the left palm,
carelessly, but hard, so as to indirectly convey the idea of their
being contained in a bag, made by the handkerchief. There need be
no fear of the fold becoming loose if the handkerchief be gripped
firmly; and the boldness of the act will disarm suspicion. The very
security of this fold renders it more difficult to work the coins
out when the "trial of strength" comes on, and the assistant must be
made to hold the handkerchief some distance away from the coins, so
that the performer's hands have plenty of space to work in. Whilst
the assistant is thus holding the handkerchief, it is a good plan to
allow that part in which the coins are folded to hang down--whilst the
sleeves are being turned back, for instance. This will keep up the
impression of their being enclosed in a bag.
[Illustration: FIG. 48.]
_The Money Changer._--This trick is accomplished by means of the first
deceptive fold described in _Hold them Tight!_ Its simple nature may
cause it to appear easy of execution; but let not the learner foster
this delusive idea, for the slightest bungle will spoil the trick,
which depends entirely upon sleight of hand.
In the left hand the performer has three pennies concealed. Three
half-crowns and three pennies, all marked by various members of the
audience, are then borrowed. The three half-crowns are first collected
in the right hand, and given into the custody of one of the audience.
The pennies are next collected, in the right hand also, and then the
performer begs the further loan of a couple of handkerchiefs. Just
as he is stepping forward to take the proffered articles, he says
to one of the audience, "Would you kindly hold these pennies for an
instant?" and, making a "pass" (Fig. 11) towards the left hand,
exhibits and hands the coins therein concealed. The idea conveyed by
the performer is that, the coins being in his way whilst borrowing
the handkerchiefs, he wants to be rid of them for a short space of
time. This covers the action of the pass, which might otherwise appear
suspicious, as being unnecessary and meaningless. Take the first
handkerchief in the right hand, and let the second hang over the
left shoulder. Now go at once to the holder of the half-crowns, and,
taking them from him, place them in the centre of the handkerchief,
previously spread over the right hand, which contains the marked
pennies. Turn briskly to another member of the audience, executing as
you do so a single turn only of the coins in the handkerchief with the
fingers of the right hand, the coins that are in the hand itself going
over as well. Take that portion of the handkerchief which contains
the coins in the left hand, grasping the whole securely. Remove the
right hand from underneath, and with it grasp the handkerchief some
four or five inches from the coins, and then reverse the positions of
the hands, handkerchief and all, the right being above and the left
below. The pennies which were recently in the right hand will now be
in a bag, as it were, formed by the handkerchief. The half-crowns are
still on the outside, hidden by one fold of the handkerchief, and held
by the fingers of the left hand. Request the person to whom you have
advanced to stand up, and inform him that you wish his right hand to
take the place of yours, and that he is on no account to relax a firm
hold for an instant, or to allow any coins either to enter or escape.
As you say this, dance the coins two or three times up and down in
the left hand, which hollow as much as possible, and the half-crowns
will fall into it. Their clinking will not signify in the least, as
it will be attributed to the coins in the handkerchief. Then give the
handkerchief into the custody of the person selected, the left hand
simultaneously finding its way to the handkerchief hanging from the
left shoulder, which it takes. The same manoeuvre is then repeated,
the handkerchief being spread over the left hand with the half-crowns
in it, and the right eventually securing the substituted pennies. All
that remains to be done is to command the coins in the handkerchiefs
to change places, which feat is apparently accomplished. The great
peril of the trick lies in the necessity of repeating the action of
folding. To avoid detection, the performer must be always on the move,
and endeavour by gesture and speech to continually direct the general
attention of the audience to the persons whom he is addressing. The
most dangerous person is he from whom the coins are taken before being
put into the handkerchief. The best method for disarming him is to be
very profuse with thanks for his kindness. By the time you have done
thanking him, your object has been accomplished. It is strange what a
trivial thing is required for the purpose of distracting the attention
of the audience, whether collectively or individually, if the
performer can only assume an appropriate expression of countenance.
On the other hand, the least appearance of anything approaching to
bewilderment only tends to make the audience doubly sharp. "Hallo!"
they will think, "he is in a fix," and forthwith the minutest action
is devoured.
In this trick, the effect of manner will make itself manifest in a
marked degree. It is evident that, if anyone in the audience fix his
eyes intently upon the performer's hands from the commencement of
the trick to the finish, never removing his gaze for an instant, he
is bound to notice the turns that are made. Now, it is impossible for
a conjuror even to keep his eye upon every member of his audience
for the purpose of noticing who is and who is not watching him. The
utmost he can do is to make such diversions as are best calculated to
accomplish his ends in a general way. If anyone in the audience be
particularly sharp, and will not be taken in, it cannot be helped.
I make these remarks in this place because a good opportunity presents
itself: they are of universal application. It is only another sermon
on the old text, misdirection.
It is as well to borrow either very thick handkerchiefs or else
coloured ones for this trick. Thin white handkerchiefs will reveal
the nature of the coins contained in them under certain conditions of
light. The person who temporarily holds the substituted pennies should
be enjoined to close his hand. This is to prevent him from whiling
away the time by seeking for the marks. A person might do this merely
out of curiosity, and without any malice whatever. When practising,
it is best to commence with a single coin of each sort, then two, and
finally three. Four coins would only make the trick more difficult,
without increasing the effect. With one coin only, the trick is
very poor; besides, it naturally appears to the audience to be more
difficult for the performer to transmit a number of coins from one
spot to another than to perform a like feat with a single coin.
_The Crystal Plateau._--This is a very pretty, but almost unknown
trick. Hanging by a couple of cords at the back of the stage is an
oblong plateau, composed simply of a frame and a piece of glass.
The performer borrows three marked florins or half-crowns, which he
can either hold in his hand, or place in the little box described
in _The Invisible Transit_. He calls attention to the plateau,
the transparent nature of which seems to render any examination
unnecessary, and announces that, not only will he cause the coins to
invisibly leave his hand (or the box), but they shall do so one at a
time, and affix themselves to the glass of the plateau. This is done,
the coins appearing one after another upon the face of the plateau,
from which the performer removes them, and hands them back to their
owners.
[Illustration: FIG. 49.]
This fine effect is thus managed: The plateau (Fig. 49) is composed
of two pieces of glass, one behind the other. The front piece is
fixed firmly into the frame, but that in the rear is only loosely
fastened. An indiarubber band, passing across the lower portion of the
latter, keeps the two glasses close together at their lower edges,
but at the top they are kept apart to the extent of about twice the
thickness of a half-crown. From the upper part of the frame three
spaces are cut out, wide enough to admit a coin, and deep enough
to cause a coin dropped in from that point to fall between the two
glasses. To keep the coins temporarily suspended, three holes are
drilled through the rear glass, just below the places for the coins,
and little pegs inserted therein. To each of these pegs is attached
a thread, held in the hand of the assistant behind the scenes. The
latter should be immediately in rear of the plateau, in order that
he may get a straight pull. When the performer cries "Pass," one
peg is pulled out, and the coin it supported falls between the two
glasses. As these approach each other by degrees, the falling coin
sticks fast about mid-way, appearing to the company--and, for that
matter, to the performer, too, so perfect is the deception--to be
stuck on the surface of the front glass, supposed by the company to be
the only one. When all three coins have thus made their appearance,
the performer proceeds to the plateau, and, placing a hat beneath it
with one hand, opens the rear glass slightly out from the front one,
the coins thus falling out. The marked coins have, of course, never
left the performer's hand, three of his own having been placed in the
little box, if that was used; and it is very easy for him to palm
these in the hat, and produce the marked ones, as though taken from
it. To pass them, one by one, from the hands, they must be held in
the left hand, and palmed singly with the right. If the performer is
skilful enough to palm them one over the other, so much the better,
otherwise the palmed coin must be got rid of in the little trouser
pocket each time, whilst the contents of the left hand are being
exhibited.
_The Money-producing Candle._--The performer commences by stating
that the next trick will be performed with a quantity of shillings.
He will want so many that the company can scarcely be able to supply
them, so he will not put them to any trouble, especially as he has
perfected a new invention by means of which money can be manufactured
out of candles. He either borrows a hat, or takes a plate, which
should be given for examination, and then approaches a candle, which
has been burning for some time on the table. Turning up his sleeves,
and indirectly showing both palms to be empty, he places his thumb on
one side of the candle and the fingers on the other, near the bottom,
and draws the hand upwards, as though squeezing the candle. Two or
three quick movements are made, and then a shilling appears in the
performer's fingers as though it had been taken out of the very flame.
The coin is placed in the plate, or hat, and, after the palm has again
been shown empty, a second shilling is squeezed out of the candle,
_viâ_ the flame. This is repeated a great number of times, a quantity
of shillings being produced, with which a trick should be subsequently
performed, the candle experiment, in itself, being of insufficient
length.
[Illustration: FIG. 50.]
The secret lies in the candle. This is a brass cylinder, covered with
white paper (Fig. 50), a piece of candle being introduced into
the top, and lighted. This introduction must be neatly done, and
some wax from the candle scraped over the junction, so as to hide
it. Inside the cylinder is a spiral spring arrangement, precisely
similar to the cylindrical sovereign-holders sold, from which one
coin at a time is extracted by a simultaneous pressing and drawing
action. Such a holder, placed inside the imitation candle, with the
opening downwards, would be the very thing (for sovereigns), provided
an opening were made just below it sufficiently large to permit the
insertion of a finger with which to withdraw the coin. The spiral
spring continually presses the coins from above, keeping the lowest
one always at the opening, it being prevented from falling by a narrow
projecting rim inside, which leaves a large portion of the central
space of the coin free to be acted upon by the inserted finger. The
side of the candle upon which the opening is situated is, I need not
say, turned away from the spectators, and, as the performer slides his
hand slowly upwards, a finger brings away a coin--the movement being,
of course, continued evenly, and no stoppage made at this particular
moment. With a little practice, the coin can be extracted with
wonderful facility. Before commencing, the performer should show that
there is no preparation about the candlestick, by turning it upside
down, and banging it upon the table. The candle is grasped by the
hand, for the purpose of removal, over the spot where the opening is,
and it may then be shown on all sides; but I do not advise that the
performer should draw attention to the candle. No hint of a prepared
candle should be given the spectators, who are not at all likely to
think of such a thing unless it is suggested to them, particularly
if the performer advances boldly, candle in one hand and candlestick
in the other, and exhibits them. It will be found that an imitation
candle to take shillings will have to be a fairly large one, so the
conjuror must use his judgment, and have one for sixpences only,
if his exhibition of an abnormally large candle be likely to draw
suspicion towards it. For large stage performances a candle capable
of taking florins might be used. The candle can be profitably used
incidentally to vary the collection of money in the air (see page
14, &c.), a coin being now and again placed visibly into the hat,
instead of "passed" magically through the crown, and a fresh one
obtained from the candle, just as would be done from the money tube
(see page 239).
_The Flight._--This is a method for causing five coins to disappear.
It is a very useful interlude when the performer is hard up for
something to do, and when it is desirable to lengthen out the
entertainment.
Take five well-worn half-crowns (your own or borrowed; marked or not),
stand sideways to the audience, right side to the front, and extend
the left hand, palm upwards. Hollowing the hand slightly, place one
coin upon the tip of each finger. Place the right hand upon the left,
the corresponding fingers of each hand meeting at the tips, so that
the coins are held firmly between them. Give the hands a half turn, so
that the back of the right hand is towards the audience, and hold them
in this position for a few moments, the eyes being directed upwards,
as though the remainder of the trick were to be in connection with the
ceiling. Give the hands two upward and downward sweeps, increasing in
vehemence, and at the third bring the points of the fingers together.
This will cause the coins to lap one over the other in tolerably good
order, when they must be pushed firmly between the root and first
joint of the right thumb, breadthwise (see Fig. 5). The action must
be executed as the hands descend for the third time, and with such
speed that the coins must be secure in position when the hands are
brought up again, when they will affect to toss the coins hard up at
the ceiling. This takes some little doing, as there must not be the
slightest pause in the upward and downward swing. The coins can be
reproduced from the person of the performer or from the audience, or
they need not be reproduced at all.
The feat is capable of being introduced into tricks where five coins
are made to disappear. Unless each finger has an occupant, it does not
look complete, so it is not advisable to introduce the variation where
four coins, or fewer, are employed.
_Coin and Worsted Ball Trick._--A very good trick indeed is performed
with a ball of worsted and a coin. Have a flat metal tube broad enough
to admit with ease the coin intended to be used, and wind round
one end of it a quantity of worsted, so as to form a large ball,
completely closing up one aperture, the other end being left open and
protruding half an inch or so. Place this in a pocket or a bag, or
behind a screen. You must have a duplicate coin palmed, which change
with the borrowed one, and give to be held in a handkerchief. The coin
would, of course, be marked. When the worsted ball is in a bag, or
behind a screen, the coin must be dropped down the tube, which is then
withdrawn, and the ball compressed in the hand so as to obliterate
all traces of an opening. It is, however, a much neater way to have
the ball and tube in the pocket (it will have to be a side pocket);
another ball being sent round to be examined before anything is done.
When the coin is in the prepared ball, and the tube withdrawn, it
can be exchanged with the other. When this has been successfully
accomplished, give the ball to be held high in the air, and, taking
the substituted coin, "pass" it inside. Now have the ball placed in a
tumbler, which is held by one person, whilst another pulls at the end
of the worsted, and so unwinds it. In the centre will, of course, be
found the borrowed article.