As previously stated, this illusion can easily be improved upon. For instance, the “black” assistant can place a live rabbit in one of the barrels, giving the audience the impression that the jewelry has undergone a somewhat extraordinary, though unprofitable, transformation.
The performer should attempt to vary the nature of his entertainment as much as possible, and the following illusion could very well occupy the next place upon the programme.
In obedience to the performer’s command, a large white box or wicker-basket floats on to the stage. This, as the reader will have been able to gather from the explanation of the previous illusion, is simply carried on by the “black” assistant.
After having shown that the box or basket—as the case may be—is perfectly empty, the illusionist raises it from the stage by placing four blocks, one under each corner. This is to prove the impossibility of a “false bottom” or trap-door being used.
A man now walks on to the stage, with a white sheet wrapped round him, and looking like a Dervish or bernoused Arab. Stepping into the basket, he coils himself up until he is concealed at the bottom.
There is a pause of a few seconds, after which a low groan issues from the interior of the basket. A moment later the sheet is seen to shoot up into the air, and collapse in a heap upon the stage. Both sheet and basket are examined; but their human occupant has disappeared—has vanished, as it were, into thin air!
The illusionist next throws the sheet back into the basket. No sooner has he done this than it is seen mysteriously to raise itself on end. Then for a second time it collapses. A moment later, however, a second disturbance is seen to be in progress inside the basket, and this time the white-robed man rises from it, and steps out upon the stage.
The secret of this illusion lies in the fact that the “black” assistant and white-robed man are one and the same person.
Directly the assistant has carried the wicker basket in, and whilst the illusionist is showing the audience that it is perfectly empty, he slips “behind the scenes,” and, taking off his black mask and gloves, hastily arrays himself in the sheet.
In this guise he again makes his appearance, and steps into the basket. No sooner has he snuggled down at the bottom, however, than he quickly throws off the sheet and replaces the gloves and mask. Giving vent to a hollow groan, he flings the sheet into the air. This for a moment diverts the attention of the spectators, and gives the assistant time to step from the basket, behind which he remains in readiness to continue with the second part of the illusion. In his black clothes he will, of course, be quite unseen.