There is also a cardboard cover which fits over the vase, a little metal cup, acting as a lid, which fits loosely into the top of the lining, and a lid with a knob for a handle which fits closely into this secret cup or lid. The secret lid has a little cotton wool placed on it.
This is the usual way of working the trick. The lining, with its "secret" lid on the top of it, is placed inside the cover and stood upon the table. The conjurer shows the vase, and as at the moment it is free from preparation he can rattle his wand inside it and show that it is really empty. He then fills it with cotton wool, taking care to put in the wool in little pieces and not pressing it down. He then "explains"—and I ask you to remember that this is not my way of presenting the trick—that the original way of doing the trick was by covering the vase with a cardboard cylinder. He puts on the cover and so gets the lining into the vase. The lining, of course, has been previously filled with coffee, or milk, or water, or some other liquid; the bottom of the lining presses down the cotton wool in the vase into a very small compass.
Now, when the conjurer removes the cover the audience see the pieces of cotton wool at the top of the secret lid on the lining, and apparently no change has been made. The conjurer goes on to explain that the modern method of doing the trick consists in merely putting "this little lid" on the cotton wool. (Cotton wool, is easily compressible, and there is sufficient space between the bottom of the lining and the bottom of the vase for all the cotton wool which was placed loosely in the vase.) Naturally, when the conjurer takes off the lid he brings away inside it the secret lid and the little pieces of cotton wool which were on that lid, and he can pour out any liquid which was in the "lining" to the vase.
Every trick has its weak point, and it seems to me that the weak point of that version of the trick is found by the audience when they realise that they are not permitted to see that the cover is empty before it is placed over the vase. I admit that the appearance of the vase is not altered in any way after the cover has been removed. The exterior is just the same and the audience see the little pile of cotton wool at the top. Still, I have never liked that method.
I dispense with the secret lid or cup to the lining and, therefore, with the "visible" lid to it. At the commencement of the trick I have the inner lining, nearly filled with water, in the vase, and the cover empty. I begin by showing that the cover really is empty, and to show that it fits over the vase I drop it over the vase and lift it off again. I replace the cover and then, as a kind of afterthought, say: "I never showed you the vase; of course, there is nothing in that." This time, when taking off the cover I take off the inner lining by pinching the cover tightly and leave it for a moment hidden in the cover. Then I fill the vase with cotton wool and put on the cover. The audience have seen the cover empty and they have seen the empty vase filled with cotton wool. Of course, when I take off the cover I can at once pour out the water.
It is advisable to have the cover made of tin. When you are putting a cardboard cover with the metal lining inside it over the vase it is not an easy matter to prevent the lining from knocking against the top of the vase, and if you are performing at close quarters the audience may hear the "chink" of metal against metal. You get over that difficulty by having the cover made of tin.
If you want to raise a laugh easily at the close of this trick you can pretend to overhear someone say that the water is not real water. You at once pour some into a cup and throw it—apparently—over the heads of the audience, but instead of a shower of water they get a shower of confetti.
This is managed by means of a "confetti cup," which is a metal teacup on a saucer. The cup is divided by a partition in the centre and the front compartment is filled with confetti. There is a hole in the bottom of the other compartment and it is there that you pour the water. Where does the water go to? Into the saucer, which is somewhat suspiciously thick. There is a hole in the centre of the saucer and the hole in the bottom of the cup goes exactly over the hole in the saucer. Thus, when the water is poured into the cup it finds its way directly into the saucer and the cup can at once be lifted up. The trick is more suitable for a stage than for a drawing-room; even a little confetti makes a big litter in a room. Still, some good-natured hostesses, if asked if they would have any objection to a litter of confetti in a room, would be sure to reply: "Not the slightest, do what you like as long as you amuse the children."
Most conjurers like to conclude a performance with a showy trick, one in which they can produce a quantity of ribbons and flags, finishing up with the production of a Union Jack—the bigger the better.
Here is a trick of that kind. The conjurer begins by showing a large metal cylinder closed at one end. He rattles his wand inside it and then holds it with its end facing the audience. But he does not hold it perfectly still. If he is performing in a room with the front rows of his audience close to him the utmost he can do—in the way of showing the interior of the cylinder—is to point it to the audience on his right and then bring it round with a quick sweep to the audience on his left. It is as well to have an assistant for this trick, but the assistant must be "in the know"—the conjurer's very own assistant, because he—or, better still, she—is asked to hold the cylinder with both hands while the conjurer fills it with water, and the conjurer cannot allow a member of the audience to undertake that task.
The water should be poured in from a height, so that the audience can see that real water is used, and that it really does go into the cylinder. The conjurer puts the jug down and peeps into the cylinder as though he were expecting something to happen. Of course, the trick could be brought to a conclusion at once, but you may well pause here for a moment—just to "work up the excitement."
You dip your hand into the cylinder and take it out dripping with water. "Just wet water," you say, "very wet." Dip your hand in again. "Still wet." Repeat the action, but this time you remark that here is something which is "quite dry," and you take out an American flag. The little joke may, or may not be, discovered by the audience, but probably some of the older members will see it. You then continue to produce a quantity of flags and finally finish up with the Union Jack, which, of course, must be larger than any of the other flags you have produced.
But the trick is not yet over, because as you produce the last flag your assistant, knowing what to do, pours out the water from the cylinder.
This effect is produced in a simple manner. The cylinder is divided down the centre into two compartments. The top of the partition does not come up to the top of the cylinder because one compartment, filled with flags before the commencement of the trick, is closed with a little semi-circular lid, and as this lid has to be opened before the flags can be produced it follows that if it were level with the top of the cylinder it would be seen. The whole of the interior is painted a dull black.
Care must be taken in pouring the water into the cylinder; if it is poured on to the top of the lid there will be a visible splash above the top of the cylinder, which would give the trick away.
Your assistant, having rehearsed the trick with you, knows just what you are going to do, and, therefore, when you dip your hand into the cylinder for the third time to get at the first flag she tilts the cylinder slightly towards you and holds it in such a way that you can lift the lid quickly.
Another cylinder for producing the same effect has the secret compartment in the centre. The compartment is a round tube closed at the mouth with an india-rubber cap. This cylinder usually has a foot to it, and this makes it more convenient for the assistant to hold. Besides, knowing that the secret compartment is in the centre the conjurer does not have to be over careful as to the way in which he pours in the water; as long as the spout of the jug is near the edge of the cylinder he knows that he is safe. I used one of these cylinders at St. George's Hall some years ago.
It is advisable to produce a flag in the first place, because you are then able to get away with the india-rubber cover behind it; the cover can easily be pulled away and hidden afterwards as you put the flag down.
It is a good plan, after the production of the first flag, to take out a number of compressible things. If you are performing to children they will like nothing better than two or three bundles of carrots. These imitation carrots are made with springs inside them, and they can be packed in a very small compass. Imitation flowers, sausages, balls and other things are also made in such a way that they can be packed in a very small space, but when they are produced they expand to the usual size. If you adopt this plan you apparently take out of the tube far more than could possibly be put into it. These things can be followed with a few "throw-outs," as they are called—little coils of bright tissue paper ribbons; the conjurer gets hold of the end and throws the coil away from him when the ribbons spread out, making a good display. After these can come a large number of silk handkerchiefs of bright colours, and finally the flags.
Care should be taken in displaying all these things after they are produced. You lose half the effect of the trick if you merely dump them down in an untidy heap. One flag can be hung on the assistant's arm, another over a chair, and another in front of the table, and so on, the object being to leave the audience with some kind of a "spectacle."
The one drawback to this very easy, but very effective trick is the anti-climax produced by the water being poured out of the vase at the end of the trick. You really want the end of the trick to be the production of the big Union Jack, and yet if you do not have the water poured out you lose some of the effect of the trick.
You can get over this difficulty by producing the Union Jack in another way, and this will give you a little more room in the vase for other flags. Let the last of these be a Union Jack of the same size as the others and drape it with the others over the back of a chair. Then have the water poured out of the vase and the audience will think that you have come to the conclusion of the trick and will begin to applaud—or it is to be hoped they will! Then take several of the flags from the back of the chair and produce a large Union Jack on a flagstaff; this makes an excellent finish to the trick.
The flagstaff is a telescopic one; the flag is pleated and rolled up, and the staff is concealed in a little bag hung behind the chair over which you drape the flags. To cause the staff to open, grasp the handle tightly and "shoot" it out with its point towards the floor for a moment; this is a very important point, because if you are performing in a room you may, in the excitement of the moment, do someone a serious injury if you merely "shoot" out the flag towards the audience. The flagstaff should be of the kind known as "self-locking"; that is to say, when every joint is out the staff can immediately be raised to a vertical position without any fear that the staff will collapse; it will remain rigid until you wish to close it. Wave the flag, allowing the other flags to fall from your hands to the floor, and if you do not finish your performance to loud applause the fault will not be yours.