Cause Exposed Coins to Change Places

A very pretty trick, though rather difficult to learn, is performed, with the aid of the Reverse Palm (Fig. 6), as follows: Borrow from two separate persons two coins of the same denomination. Take particular pains to have the marks quite distinct on each, so that the two are distinguishable from one another. There is no objection to the performer superintending the marking. in order to insure its being properly done. One coin, for instance, might have a single stroke marked upon it, or a cross, whilst the other could have a small circle or an initial. The numbers 1 and 2 could also be efficiently employed; and, for facility of description, I will now suppose them used. Palmed (Fig. 2), you have another coin of your own, similar to those borrowed. You place two chairs or settees a little distance apart, between yourself and the spectators. Take coin No.1, and, standing behind one of the chairs, facing the company, act as though you tossed it upon the cushion. What you really do, however, is to palm the coin by the reverse palm, following the instructions on page 8, for throwing a coin away into the air; the coin that has been concealed in the palm being released, in its stead. This action must be assiduously practised until it can be performed with complete certainty and smoothness. Practise first tossing a coin on a chair from a distance of a couple of feet, and then imitate that action as nearly as possible whilst making the change. The toss must be made with a steady, smooth swing. neither too hurriedly nor too slowly executed. When the manoeuvre is finished, the palm of the hand must, of course, be towards the audience. A half, or whole, turn of the body must now he made, to enable the performer to get the coin from the back of the fingers to the palm proper. The way to ensure the safe execution of this is to put the thumb over the first finger, so that it grasps the coin, assisted by the middle finger. The first finger can then be drawn out of the way. With coin No.1 in the palm, take coin No.2, and repeat the changing operation, at the completion of which the state of affairs will be: On chair 1, duplicate coin (supposed by spectators to be coin No.1); on chair 2, coin No.1 (supposed by spectators to be coin No.2); in performer's palm, coin No.2. Any fanciful form of causing a magical change to take place may be gone into, and the performer then asks a spectator to examine the coin on chair 2, which is found to be coin No.1. As only two coins are known to the spectators, it is taken for granted by them that the one on chair 1 is coin No.2; but it will be as well for the performer to incidentally remark, "And, of course, there is coin No.2," and then at once proceed to show the trick over again, "for the general satisfaction of those present." For this purpose, coin No.1 is taken from the person who examined it, and ostensibly replaced upon chair 2. Instead, however, coin No.2 is placed there. Under the plea of placing the chair a little closer, so that a better view may be obtained, the performer takes up duplicate coin from chair 1, and, in apparently replacing it, substitutes coin No. 1. The coins have thus been made to regain their old positions, and may now, of course, be freely examined, the performer not touching them again. If the performer feels any confidence in himself in this rather difficult trick, he may use three marked coins, when, by skilful manipulation, he may make all sorts of changes. By working changes with only two of the three at a time, he always has one lying dormant, which is not liable to inspection, and may, therefore, be the duplicate one. It is not advisable for him to prolong the trick, unless it be going very well. He must keep his wits about him, however, or he may find that he has forgotten the precise whereabouts of his own coin. A very bold, but remarkably effective, way of bringing about the final change is to pick the coin from the chair, and, instead of moving that closer, toss the coin into a lady's lap. The lady should be sitting upon the extreme verge of the other spectators, or else must be shielded by some article of furniture, or the coin palmed at the back of the hand is not unlikely to be seen. The very boldness of this action is, however, its chief safeguard, only there must be no sort of hesitation in its execution.

A performer with large and muscular fingers can use half-crowns for the trick, but for the beginner shillings and halfpence will be sufficient. Copper coins are not so effective as silver; but an accidental exposure of a portion of them is not so readily perceived as is the case with the brighter metal-not that there is the least excuse for such exposure.

Before returning the duplicate coin to the pocket, the performer may produce one or two other effects with the reverse palm. Let him borrow a hat, and a coin similar to the one concealed. Standing sideways to the company, let him have the duplicate palmed reversely in the hand that is farthest from the audience. Say it is the left hand. With the right hand place the hat into the left one, the thumb on the brim, the fingers inside. As the company have seen the palm of the left hand open, not the slightest suspicion will be entertained that it holds anything. The borrowed coin is now made to perform an aerial journey, being palmed. The performer's eye followed its imaginary flight, and then catches it in the hat, the coin in the left hand being of course released, when it will be heard to fall. After showing this coin, reverse palm the other, under cover of the hat, and repeat the operation. To do this, the performer must be able to palm equally well with either hand. If the trick be repeated, it should be varied each time by some such device as finding that the coin had taken refuge in a gentleman's hair, lady's handkerchief, &c., on its way to the hat.

By the time the learner has proceeded thus far with success, he will have acquired a proficiency that will enable him to amuse a circle of friends for an hour or two by means of coin tricks alone, without much fear of detection especially if the rule of rehearsing in private before exhibiting in public be adhered to. The security afforded by a good palm can scarcely be over-estimated, as it enables the performer to attempt the most barefaced impromptu experiments with comparative impunity. These impromptu interludes are always conducive to success, for the audience can generally discover originality.