WHERE IS IT?
This is another of the tricks dependent on the novel application of the black art principle.
For programme purposes the trick may, if preferred, be entitled “The Erratic Shilling.” Its effect may be broadly described as follows:
A marked shilling, lent by some member of the company, after being professedly magnetised or mesmerised by rubbing, is laid upon a black velvet mat and covered with a playing card, face down. Two other cards are laid (also faces down), one on each side of the first, at a few inches distance from it, and the audience are given to understand that the rubbing has imparted to the coin the power to travel from card to card at command, and indeed sometimes of its own accord. When the card which covered the coin is lifted, this is found to be the case. The shilling is no longer where first seen, but is found to have placed itself under one of the other two cards. The spectators may be invited to say under which of the cards they would like the coin to pass, when it will place itself accordingly. The coin may be identified by the owner in the course of the trick, as well as at its close.
The requirements for the trick are as follows:
1. The velvet mat.
2. A pack of cards, arranged as presently to be explained.
3. Three overlays ([see p. 20]), each consisting, in the present instance, of a court card, backed with velvet of similar tint and texture to that with which the mat is covered. Three of the edges of each card are blackened, but the fourth (one of its shorter sides) is left white, and thickened by the insertion of an extra slip of white card along that end. The effect of this is that, as the card lies on the mat, its white edge is visible from that side, but from no other position.
4. Three cards, corresponding with the three overlays, which we will suppose to represent the queen of clubs, and the knaves of spades and diamonds respectively. The queen is wholly unprepared, but each of the two knaves has a point of fine wire, or a black bristle projecting a sixteenth of an inch or so, midway from each of its sides. The “queen” overlay is furnished with similar points, the object of these being to enable the performer the more easily to lift a given card with or without its duplicate overlay.
In preparing for the trick the two “knave” overlays, each covering a shilling, are laid beforehand on the mat, velvet side up, eight or ten inches apart, as shown in Fig. 11, under which circumstances they are invisible to the spectators at a few feet distance, and very nearly so to the performer, save that their white edges, turned towards himself, furnish him with an exact guide to their position. On the top of the pack are laid, first the two knaves. On these the queen overlay, and uppermost the unprepared queen.
Fig. 11
In presenting the trick the borrowed shilling is laid on the mat midway between the two overlays already on the table, and is covered with the top card of the pack, the third overlay being lifted off with it, and resting beneath it with its centre as nearly as possible over the coin.
The two following cards are now laid one on each side of the first, as in Fig. 12, each on the corresponding overlay, the white edges of these, visible to the performer, but not to the company, serving as guides to exact position. When the performer desires to show that the coin is not under a given card, he raises the card only, lifting it lengthwise, and leaving the coin covered by the overlay. When he desires to exhibit a coin, he picks up the card covering it breadthwise between finger and thumb and with it the overlay beneath it.
Fig. 12
The introductory patter may run as follows:
“You have all heard, no doubt, of what is called the thimblerig trick, frequently exhibited at fairs and on race-courses. Some of you gentlemen may even have parted with a little money over it. For the benefit of the ladies I will explain what it is.
“The operator has before him on a small board or tray three thimbles, or half walnut-shells. He exhibits a small pea, or a pellet the size of a pea, which he affectionately calls the ‘joker.’ This he places under one of the thimbles, all three of which he then shifts about on the tray; inviting the spectators to bet with him as to which thimble the pea is under. He has two or three confederates, who bet, and naturally win, but if an outsider is rash enough to back his own supposed smartness he loses; for as a matter of fact the pea is not placed under either of the thimbles at all until after the bet is made, when it is skilfully introduced under whichever thimble best suits the performer.
“The trick is in truth a mere affair of dexterity; the performer having acquired by long practise the power of placing the pea under any thimble he pleases. What I propose to show you is a similar effect, but more surprising, because, as you will see, there is no room for dexterity, or indeed any form of trickery; so that I have to depend entirely upon my magic power. I shall use a shilling, as being more easily seen than a pea, and three cards from this pack to represent the thimbles.
“Will some gentleman oblige me with the loan of a shilling; marked in such a way that he may be sure of knowing it again.”
Receiving the coin in his right hand, the performer makes believe to transfer it to his left; wherein he already has a shilling of his own. Surreptitiously depositing the coin lent to him behind the pack of cards on the table, he exhibits the substitute on the palm of the left hand and rubs it with the fingers of the right.
“I do this,” he explains, “in order to drive out all adverse magnetisms, and to substitute my own. I will now put the coin in full view on the table and cover it with a card. See that I do so fairly.”
After laying down the coin he takes the top card of the pack, and with it, unknown to the spectators, the overlay beneath it, and lowers them on to the coin.
“Notice particularly, please, where I have placed the coin, and notice too that I do not touch it again. I will now place two more cards, one on each side of the first one.” He does so, letting the spectators see clearly that there is nothing in the hand save the card itself, and then slowly lowering it exactly on to one of the two overlays on the table. “Now I make a few magnetic passes over the cards, so.” He waves his wand backwards and forwards above the cards, at a few inches’ distance.
“And now, where is the coin? Still under the middle card, you would say? You are mistaken.” He lifts that card lengthwise, leaving the overlay covering the coin; then replacing the card. “It is no longer there, you see. In point of fact it has passed under this card.”
He lifts one of the side cards breadthwise, the overlay coming with it, and exposes the coin beneath it. “Here it is, you see. We will try once more.” He replaces the card and then shows, in like manner, that the coin has passed to the card on the opposite side. After one or two transpositions have been shown, the audience being allowed to say under which card the coin shall appear, and the last shift having been to one of the side positions, the performer says: “I should like you to be satisfied that it is really the marked coin and no other, that wanders about in this way. I will ask the gentleman who lent it to me to verify his mark.”
He picks up from one of the side positions the coin last uncovered and brings it forward, but in transit “switches” it for the borrowed coin, which he has a moment previously picked up from its resting place behind the pack. It is, of course, this last which he offers for identification, again exchanging it for the substitute before replacing this in its former position. The final reproduction must be from under the centre card, the performer again ringing the changes before returning the coin to the owner. At the close of the trick all three cards are placed on the pack, the centre overlay going with them. The other two overlays are left on the mat, each still covering its own coin, and the whole being carried off together. If the mat is of the folding kind it can be closed before removal, effectually concealing the accessories used in the trick.
Some amount of skill will be found necessary to pick up the card with or without the corresponding overlay, as may be desired. The difficulty however speedily disappears with practice. On the other hand, the trick is well worth the trouble needed to master it, for if the spectators are convinced (as, given perfect execution, they should be) that it is really the borrowed coin which travels about as it appears to do, nothing short of genuine magic will furnish an adequate explanation.
The performer is of course by no means bound to adopt the mise en scène above suggested. If preferred, the patter might be based on a supposed plot between the two knaves to rob the queen, the coin representing the stolen property, secretly passed from the one to the other when either was accused of the theft. The story might conclude with an appeal by the queen to a benevolent magician, through whose good offices her property is brought back to its original position, and in due course restored to her. The touch of the mystic wand would naturally play an important part in effecting the restoration.