KING KOKO 2

3 KING KOKO
KING KOKO 4
5 KING KOKO

KING KOKO
OR

THE PRETTY PRINCESS AND THE

LUCKY LOVER
A CONJURING ENTERTAINMENT IN THE FORM
OF A FAIRY TALE

WITH PRACTICAL INSTRUCTIONS

BY

PROFESSOR HOFFMANN
AUTHOR OF
"MODERN MAGIC," "MORE MAGIC," "LATER MAGIC," ETC.

WITH ILLUSTRATIONS BY H. L. SHINDLER

LONDON
CHATTLO & WINDUS
1904
 KING KOKO 6

PRINTED BY
WILLIAM CLOWES AND SONS, LIMITED,
LONDON AND BECCLES.
7 KING KOKO

PREFACE

This little book may, I believe, claim to be the first attempt to present a drawing-room
conjuring entertainment in the guise of a connected story.
A portion of the fairy tale thus practically illustrated by conjuring tricks was written
some years ago for my own use, and was received with hearty approval by many juvenile
audiences. Coming recently across the manuscript, it struck me that with some amount of
revision, and the addition of a second chapter, explaining how the marvels described are to
be accomplished, it might interest a larger public. This little book is the result.
In making my selection of magical effects, I have not aimed specially at novelty, but
have given the preference to such items as appeared to fit easily and naturally into the story.
Where, however, I have introduced an old trick, it will be found to be so rejuvenated by the
altered mode of presentation as to be practically new.
In point of execution, none of the tricks described
present any serious difficulty; in fact, with one or two exceptions, all are within the
compass of the most modest amateur. On the other hand, all are, in their way, effective; and
I venture to believe that the novelty of the setting may commend it to more skilled
performers.
I have made considerable additions to the original story, not with the idea of
lengthening the performance (of which an hour should be the outside limit), but in order to
give the narrator a wider range of selection. Many of the incidents are merely parenthetical
to the plot, and may be omitted without any detriment to the general effect. An ample
margin in this particular has the advantage that it enables the performer to vary his
programme on different occasions.
The few requirements in the way of apparatus (of which a priced list is given at the
end of the book) are, for the most part, of an inexpensive character, and extremely portable.
The performer works throughout single-handed, no assistant being necessary.
LOUIS HOFFMANN.
 KING KOKO 8

CONTENTS
[The figures in the first column denote the appropriate page in Chapter I. (the "Story"
portion); and those in the second column the corresponding page in Chapter II., wherein the
explanation of the trick is given.]

TRICK PAGE PAGE

1. THE INSTANTANEOUS PRODUCTION OF A ROSE 14 62
IN THE PERFORMER'S BUTTONHOLE

2. THE MAGIC WAND SUSPENDED IN AIR WITHOUT 17 65

VISIBLE SUPPORT

3. A BORROWED HALF-CROWN MELTED IN A CANDLE 20 7I

4. A BORROWED HALF-CROWN DISSOLVED IN A 25 76

GLASS OF WATER

5. A GLASS OF WATER HELD UPSIDE DOWN WITH- 28 81

OUT SPILLING

6. A SHOWER OF BONBONS MADE TO FALL FROM A 29 83

BORROWED HANDKERCHIEF

7. A QUANTITY OF FLOWERS PRODUCED FROM AN 30 86

EMPTY PAPER BAG

8. A BROKEN FAN MAGICALLY RESTORED 33 85

9. A BORROWED HANDKERCHIEF REDUCED TO LILLIPUTIAN 34 90

DIMENSIONS

10. A DRAWER, SHOWN EMPTY, REPEATEDLY BECOMES FULL 35 93

11. TWO CARDS MADE TO RISE AUTOMATICALLY FROM THE 38 98

PACK

12. THE SAME CARDS, PLACED SEPARATELY IN DIFFERENT 41 101

PIECES OF APPARATUS, ARE MYSTERIOUSLY BROUGHT
TOGETHER

13. THE ANTI-GRAVITATION BALL, WHICH MOVES UPWARDS ON 42 105

A CORD, INSTEAD OF FALLING

14. WRITING MAGICALLY PRODUCED UNDER GLASS IN A FRAME 44 106

9 KING KOKO

15. SIX AND FIVE PROVED CONCLUSIVELY TO BE THIRTEEN 46 108

16. WHITE SAND AND GREY SAND, MIXED TOGETHER IN WATER, 47 109
BROUGHT OUT AGAIN SEPARATELY, QUITE DRY

17. THE RAINBOW WATER, CHANGING COLOUR AT COMMAND 48 116

18. THE MAGIC DIE, PROVED TO BE IN TWO PLACES AT THE SAME 52 111
TIME

19-20. THREE NUMBERS ADDED TOGETHER WITHOUT SEEING 55 117

THEM, AND THE TOTAL MADE TO APPEAR ON A SLATE,
PREVIOUSLY CLEANED

APPENDIX 124
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FULL-PAGE ILLUSTRATIONS

TRYING TO MAKE GOLD ... ... Frontispiece. See p. 19

CHAPTER I.-THE STORY

PAGE
KING KOKO 'AT THE POLICE COURT ... ... 21

THE PRINCESS AND HER FAIRY GODMOTHER ... ... 39

11 KING KOKO

KING KOKO C H A P T E R I
THE STORY
L A D I E S and gentlemen, I have undertaken to amuse you this evening by telling you a fairy
tale. No doubt you have all heard many fairy tales in your time, but you didn't believe them.
You were told about all sorts of wonderful things, but you had to take them on trust, and you
were not equal to it. But that was the old style of fairy tale. Mine is on a much more up-to-date
principle. Everything is solid, copper-bottomed fact. When, in the course of my story, I tell you
about some miraculous occurrence, I shall not ask you to take my word for it, but I shall let you
see it happen, then and there, for yourselves.
You will naturally wonder how I am going to manage it. I'm not a fairy myself; you can
see that at a glance. And, between ourselves, I shouldn't care to be. I'm not the figure for it, for.
one thing; and I shouldn't fancy sitting on a mushroom, or tripping it on damp grass at two
o'clock in the morning, which is the fairies' notion of healthy enjoyment. That sort of thing
may be all very well for Mr. Puck, or for King Oberon and Queen Titania, but it's not my
style.
But though I am not a fairy, I possess a good many magical powers. The fact is, I am
lucky enough to own a genuine magic wand. My great-great-grandmother once did some little
kindness to a fairy lent her an umbrella on a wet night, or something of that sort and
the fairy, in return, gave her a magic wand, which has been preserved in our family ever
since. Here it is. (He exhibits wand.) It is nothing particular to look at, as you see; but if you
only have a wand like this, and know how to use it, you can produce all sorts of wonderful
effects, without any trouble at all.
For instance, on occasions like this, I always like to wear a flower in my buttonhole,
but to-night I forgot to provide one. Now, if I didn't possess a magic wand, I should have to
go without; but having the wand makes all the difference, as you will see. I shall supply the
deficiency by borrowing a rose from some young lady's cheek. I see a lady over there who
looks as if she could spare a rose. She smiles, which is a favourable sign. May I take a rose
from your cheek, madam? Pray don't be alarmed; you won't miss it. I shall not even come
near you. I shall take it Marconi-fashion, by wireless telegraphy. I just wave the wand, and
call it to me so. (He makes believe to draw something from the lady indicated to himself,
and place it in the buttonhole of his coat.) Thank you; it is a very pretty one. What do you
say? You don't see it! I dare say not; that is the peculiar nature of this kind of rose. You have
heard of "invisible green," haven't you? Well, this rose is "invisible red," so of course you
can't see it. But it's there, all the same.
You don't believe me, I see, so I suppose I must make it visible for you. It's easily
done if you have a magic wand. It only needs the mystic touch. Watch me carefully. Keep
one eye on the buttonhole, and the other on the wand, and then I can't possibly deceive you,
even if I wanted to do so. One Two Three! (A rose appears in the buttonhole.)
Now you can see the rose; a very charming specimen, as you must all admit. As I told
you, it's all done by the power of the wand. Without it, the rose would have remained
permanently invisible, and nobody would have been any the better for it.
I beg your pardon! I think I heard somebody say that the wand had nothing to do with
it. She said, too it was a lady who said it that the wand, my revered great-great-
grandmother's wand, was only a bit of stick. A bit of stick, indeed! Somebody will be saying
next that I never had a great-great-grandmother. When I come to think of it, I'm afraid I can't
 KING KOKO 12

prove that I ever had. I think I must ask you to assume my great-great-grandmother. But I can
prove the magical qualities of her wand in the most convincing manner.
First, I should like some gentleman to examine it carefully. Take it into your own
hands, sir. I want you to be thoroughly satisfied that no trick or mechanism, of any sort or
kind, is employed. You don't notice anything peculiar about it? No. Nor would you, however
long you might examine it, because, as a matter of fact, there isn't any. In one sense it is, as
the lady remarked, a mere ordinary piece of wood. But no ordinary piece of wood can do the
extraordinary things this wand will do. I'll show you just one of them before I begin my story.
See! I just take it in my hands so (Fig. 1),* and magnetize it by drawing them apart
once or twice in opposite directions; first, the right hand, and then the left. And now, you see,
when I open my hands, the wand does not fall, as you would naturally expect, but remains
suspended, by magnetic attraction, to the palms (Fig. 2). Or to the two thumbs only (Fig. 3)
Or, again, it will hang vertically from one finger and thumb; it is all the same. From the
right thumb (Fig. 4), or from the left thumb. (The wand is shown, self-suspended, in
each of the above positions.) Take the wand in your own hands, sir, and again examine it. You
will find that there is absolutely no deception about the matter. In fact, there is no room for
deception. The only possible explanation is the one I have given you namely, that this
simple-looking piece of wood is a genuine magic wand.
This little interlude has made me all the longer in getting to my story. But it is your
own fault, ladies and gentlemen. You are so very sceptical. If you would only believe
everything I tell you at once, we should get on faster.
Once upon a time, in a certain country I say a certain country because I am not
quite certain which it was, and I wouldn't deceive you, even in a little thing like that in a
certain country there was a great king or, at any rate, a good-sized king named
Kokolorum the Irascible. His subjects, for the most part, used to call him simply " Koko," re-
serving the "lorum" for use on Bank Holidays and other State occasions. He was very plain
himself, both in his language and his features; but he had an extremely lovely daughter, the
Princess Belinda Maria Katinka Sophia Jerusha Penelope Elizabeth Anne. She had several
other names, which I can't remember for the moment; but. those will do to go on with in
fact, if you don't mind, we will merely call her "Belinda," for shortness. Her papa called her
"Belle," which is shorter still; and the Court Mathematician calculated that he saved nearly
three-quarters of an hour every day by doing so.
I don't know exactly how old she was, but she was just at the age when girls are
nicest, whatever that is. As a matter of course, she had a sweet-heart. His name was Otto von
Smith. He was a good-looking young fellow; his eyes were real peacock blue, and he had a
lovely auburn moustache. The King called it "ginger," but the Princess said it was auburn,
and of course she must have known best.
Unfortunately, the King had a prejudice against the name of Smith, and ginger I
mean auburn moustaches. He would, however, probably have become reconciled to these
trifling defects, but for the influence of his Prime Minister, the Baron von Schwindelheim.
Between ourselves, the Baron very much wanted to marry the Princess himself. He was an
ugly little man, with red hair and blue spectacles, and he had a slight cast in one eye, but he
had an idea that he was extremely good looking. He was a sort of man-of-all-work to the
King, who bullied him a good deal, but generally took his advice in the end; and he never lost
an opportunity of saying something disagreeable about Von Smith.
*
The diagrams here referred to will be found in the second chapter, wherein the working of the tricks is explained.
13 KING KOKO

I forgot to tell you that the King was a bit of an alchemist, and used to spend the best
part of his time with the Baron in the back parlour, which he had had fitted up as a
laboratory, trying to make gold. They never quite succeeded, though they came near it (so
they said, at least) several times. One day Von Schwindelheim showed the King a sovereign
which he professed to have made while his Majesty was away, taking the chair at a Mothers'
Meeting. The King bought it of him for fifteen shillings, and thought he had a great bargain,
but it got him into trouble. It was such a very bad one that, when he tried to change it, he was
"run in" by the police, and very nearly got six months. As he was a King, the magistrate let
him off with a caution.
However, though they never succeeded in making money, they discovered several new
ways of spending it. One was a peculiar process for melting silver. If some one will oblige
me with the loan of a half-crown, I shall be happy to show it to you. Mark the coin, sir,
please, that you may be sure of knowing it again. Silver, as I dare say you know, only melts,
in a general way, at a very high temperature; but Von Schwindelheim had discovered that if
you first mesmerise it a little by rubbing it with the fingers so you can melt it in the
flame of a common candle, like this one. When I say " a common candle," I don't mean
anything offensive. I wouldn't hurt the feelings even of a candle. I mean any ordinary candle.
You see, the coin is getting soft already. (He bends it backwards and forwards
between the fingers.) There is no deception. This is your own half-crown, sir, is it not? You
recognize your mark? Good. I will rub it a little more, to strengthen
KING KOKO 14
15 KING KOKO
 KING KOKO 16

the influence; and now, when I hold it over the candle, it should melt right away into the
flame. (He rubs coin over candle flame, and then shows fingers, empty.)
It has melted away, you see. The Baron persuaded the King that it was lost for ever
sacrificed upon the altar of Science. But he himself knew better. As soon as his Majesty's
back was turned, he used to nip that little bright point you see at the top of the flame (that's
really the coin) so, and take it out again. Of course it was in a melted condition, as you
see. You don't see anything? Well, no, perhaps not for the moment, because the coin is at
present in a state of fusion; but you will directly. As it cools, it takes the form of a little ball-
like this. (A small ball of bright metal appears at the finger-tips.)
Allow me to return your property, sir, with many thanks. What do you say you
would rather have your half-crown? My dear sir, this is your half crown, only a little bit
altered. Oh! you would rather have it in its original shape? You should have said that at first,
and I wouldn't have altered it. However, I'll try if I can flatten it out a little for you. I won't
guarantee to make it quite as it was at first, but I'll do the best I can. Come, it is
certainly getting rather flatter. The pattern seems to be coming back again, too, and I can see
faint traces of your own mark. I have succeeded better than I expected. (He hands back coin to
owner.) I am afraid you will find the coin still rather soft. I should recommend you to sit upon
it for a little while, to prevent its curling up at the edges. When it once gets cold, it will be all
right.
Now I'll show you another favourite experiment of King Koko's. Von Schwindelheim
had got hold of a mediaeval recipe for a hair restorer, and he used to make it up, and supply the
King with four-and-sixpenny trial bottles of it for fifteen-pence. He had even persuaded the
King to write him a flowery testimonial, illustrated with his own portrait, saying that if it hadn't
been for "Von Schwindelheim's Magic Scalp Fertilizer," he wouldn't have had a hair left on his
head. He had only a little fringe all round, as it was, so it wasn't much of a testimonial; but he
was photographed with his crown on, so the picture looked all right. I'll show you directly how
the Magic Fertilizer was made, but excuse my interrupting the story for a moment I have
just noticed that a young gentleman over there has an orange in his hair; and as I shall be
wanting an
orange presently, I may as well borrow it at once. (Takes orange from spectator's hair.) Thank
you, sir, this will be extremely useful to me. I will put it here on the table till it is wanted.
Let me see where was I when the young gentleman with the orange interrupted me?
Oh yes! I was just going to tell you how the Magic Fertilizer was made. You take a glass of
water, a pocket-handkerchief, and a half-crown. Of course, if any one will lend them to you,
you need not take them. I would always rather borrow than steal, myself, so we will try
borrowing first.
Who will lend me another half-crown? I would rather not have the one I melted in the
candle just now; I am not quite sure that that is a good one. I should prefer a good old well-
worn coin, if possible. When a coin has been a long time in use, there is more animal
magnetism about it, and animal magnetism goes a long way in conjuring. Make a good bold
mark upon it, please, and keep it till I want it. And now may I also ask the loan of a small
pocket-handkerchief? I won't trouble anybody to lend me the water I have some here.
First, I will fill the glass. Will some gentleman oblige me by holding it? (The glass of
water is handed to volunteer assistant.) Hold it well up, sir, that everybody may be able to
keep an eye upon it. Now I will ask somebody else to hold up the orange, on the point of this
knife. (These are handed to a second spectator.)
17 KING KOKO

Please observe, ladies and gentlemen, that up to this point I have not even touched the
half-crown, which has till this last minute remained in the custody of the owner. I will now
take it, and throw the handkerchief over it so. This is done in order to concentrate the
electric force, because naturally, unless the peristaltic anhelations of the prismatic
hyperdynamic are maintained, the parallelogram of forces is disturbed, and the cosmic aura
no longer retains its hyperboloid connection with the hepatic reticulations. You will realize at
once that such must be the case. Now, sir (to the person holding the glass), I want you to take
hold of the half crown through the handkerchief, and hold it just over the glass. When I say
"Three," please drop it into the water. Attention, please. I want every body to hear it fall in.
One-two-three! Now take off the handkerchief. The half-crown is no longer there, or rather, it
is there, but it is completely dissolved in the water.
That constitutes the Magic Scalp Fertilizer; and Von Schwindelheim persuaded the
King that if he only rubbed this well into his cranium he would soon have a beautiful crop of
curly hair silver hair, of course. He little thought that, as soon as his back was turned, the
artful old Baron used to take the money out of the water again. At first sight that would seem
to be rather difficult, considering that it is completely dissolved; but I'll show you how it was
done.
Von Schwindelheim had discovered that orange juice has the curious faculty of
restoring the silver to its original solid condition. So he used just to take an orange, stick it
on the point of a knife, and pour a little of the Fertilizer over it like this (he suits the action
to the words), when the half-crown immediately passed into the orange. I have no doubt it has
done so now. (To the holder.) Cut the orange open yourself, sir, please, and see whether the
coin has materialized. (This is done, and the half-crown is discovered inside.) Yes ; here is the
half-crown, you see, with the owner's mark still upon it. It is rather wet, I am afraid. Allow
me to wipe it for you. (He wipes coin with pocket-handkerchief.) That is better. (To the
lender.) There is your half-crown, sir. Will you be good enough to look at the mark, and tell
the company whether that is really the coin you lent me? (The owner identifies the coin.)
Of course, when the silver is taken out of it, the magic hair restorer becomes just plain
water again. Von Schwindelheim used to eat the orange, and pocket the half-crown; but the
poor King kept on rubbing and rubbing, though, for all the good it did him, he might just as
well have rubbed his head against the parish pump.
There was, however, one curious thing about it. The water became more dense than
usual; and if you had a steady hand you might even turn the glass upside down, and it would
not fall out. I'll try it, though I don't know whether I shall succeed. I am afraid the half-crown
was hardly left in long enough to have the full effect. (He inverts the glass, but the water
does not escape.) It is all right, not-withstanding, you see. All that it needs is a steady hand,
and plenty of nerve. My own idea is that the water is taken by surprise. It doesn't know whether
it is standing on its head or its heels, and while it is making up its mind it forgets to fall out. It's
really very simple. Will some gentleman try it for himself ? Place your hand flat on the top of
the glass. Now turn it over. And now take your hand away. (The waterfalls out.) Dear, dear!
that is a pity. I fancy you were a little bit nervous. I warned you that it required a very steady
hand.
However, to return to the Princess and her lover. The King, as I have already told you,
wouldn't have anything to say to Von Smith; and the young people would have been in despair,
but fortunately, Belinda had a fairy godmother. Now, you know, fairy godmothers always give
their god-child something extra special in the way of a christening present. Belinda's gift from
her godmother was rather a curious one. It was the sweetest breath in the world. I hardly know
 KING KOKO 18

how to describe it. It was a combination of the scent of roses and violets and lilies of the valley,
with just a suggestion, hardly enough to notice, of rum-punch.
As you would naturally expect, a breath of such a superior kind had sundry mysterious
effects.* If a lady will lend me a handkerchief again, I'll show you one of them. If the Princess
wanted a little light refreshment, she had no need to go into a pastry cooks shop, like other
young ladies. She had only to take her handkerchief like this, and breathe on it, when a shower
of sweets immediately fell from it. Which young lady will hold this plate, and breathe for the
Princess? (The performer holds the handkerchief over the plate, with the four corners
hanging down around it. When the lady breathes on it, a shower of bonbons falls on the
plate.)
The King took it into his head that the spell lay in the handkerchief, so one day he got
hold of one of Belinda's pocket-handkerchiefs, and made the Baron hold it for him. Then he
took a long breath, and blew as if he was playing the trombone. Who will blow for the King?
(Some one does so, when an onion falls from the handkerchief.) But it doesn't do to try
experiments in magic. It unfortunately happened that his Majesty had been having roast pork
for dinner; and you see the painful result.
Another magical effect of the Princess's breath was flower-growing; producing lovely
flowers out of nothing at all. She had no need of seeds to sow, or earth to sow them in. She
didn't even trouble to go into the garden. She just took a sheet of white paper, twisted it into a
conical bag, and fastened it with a pin like this. (He suits the action in each case to the
words.) Then she just breathed into it, and presently the flowers appeared.
I beg your pardon! I think I heard somebody say I had put something in the bag. Pray
convince yourselves that I have not done anything of the kind. I really feel hurt that you
should imagine I would be guilty of such a thing (particularly while you are looking straight
at me). See for yourselves. Nothing here (showing left hand empty); nothing in the bag; and
nothing here (showing right hand empty).
Now, if you have fully satisfied yourselves that I have nothing in my hands, and that
the bag is absolutely empty, I will ask some young lady to breathe into it for the Princess.
You will, madam? Thank you. A good long breath, please. Nothing in the bag as yet, is there?
Breathe once more, please, to strengthen the influence.
Now, would the lady at the piano oblige with a little soft music; something about
flowers, if possible say, "The Bluebells of Scotland," or "The Last Rose of Summer"? I
find that a little music of that kind brings forward the flowers more rapidly; it makes them
feel more at home, perhaps.
Some of them ought to be here by this time (he glances into bag), but somehow they
seem a bit slow in arriving to-night. It is all right, though, for I can feel that the bag is getting
heavier. Yes, here is the first arrival; and when one makes a start, the others are never very
long in following. Here is another, and another. They are beginning to come quite fast now.
(He takes flowers from the bag, at first singly, then three or four together.)
You will understand, no doubt, that these are not mere "common or garden" flowers.
These are quite unique specimens. They are something like orchids, only more so. This one is a
tricosserorum. This is a pittapatta, and this one is a specimen of , crocodilla jocosa. Here is a
piccalillia, and this one is a dinnabella furiosa. Botanists stand on their heads with excitement
when I show them these flowers. They have never seen anything like them.

*
It will be observed that four of such effects are described in the text, but not more than two, at most, should be exhibited on the same occasion.
19 KING KOKO

I haven't time to tell you the names of all of them; they are coming too rapidly. Here
come some more, and yet more. There is no room for, deception in the bag, at any rate
for you see it is still quite full of flowers. I will pour them out into this basket. (He empties bag
into basket accordingly.)
The bag is empty at last, and I will show you the paper once again, so that you may be
quite sure that everything has been exactly as I have represented it. (He removes pin, and
shows both sides of paper.) But the paper still seems heavier than it ought to be. There must be
more to come, some-where. Perhaps there are some on the other side. (He reforms the bag
inside out, and continues the production.) Yes, I thought so. Here is a shrimpsia, and here is a
blobbinella bulgens. And here is another, and another. That's the worst of the fairies. When
they do begin, they never know when to leave off (He shows bag again full, and pours
flowers into basket.) I must crumple up the paper, or this will go on for the rest of the evening.
(He does so, and throws it aside.)
Another curious effect of the Princess's breath was mending things. I don't mean ugly,
common things, like boots or broom-handles, but light fancy articles. For instance, I have here
a fan belonging to a lady friend of mine. She has had the misfortune to break it, as you see.
Now, in a general way, you would consider a fan in such a condition completely done for, and
you would throw it away. In fact, that's what my lady friend was going to do, but I asked her to
let me try the effect of the Princess's breath. (He shows broken fan, open, then closes it.) Who
will breathe for the Princess this time?
You will, madam? Thank you. (The lady having breathed upon the fan, it is opened, and
found to be in perfect condition.) I told you how it would be. You see, the fan is completely
restored.
But even now you haven't seen quite all the magical effects of the Princess's breath. If
she was going to the seaside for a week or two, she had no need to bother, like other young
ladies, with a great big dress-basket, or even a hatbox. She could carry all her garments in a
box no bigger than a tea-caddy. Here is her own particular travelling trunk. Of course, to go
into so small a space, the garments had to be reduced in size, and that's where the Princess's
magic breath came in useful again. I'll show you how it was done. Will some lady once more
lend me a handkerchief, the smaller and finer the better?
Now we will suppose that this was the Princess's own handkerchief, and that she
wanted to make it still smaller. She just breathed upon it so, waved it about a little so,
rubbed it a little so, and squeezed it a little so; and when she spread it out again, it had
come down to half its original size like this. (Handkerchief shown reduced to half size.) If
she wanted it smaller still, she had only to breathe on it again, and rub it a little more, and it
immediately became as small as this (handkerchief shown still further reduced), and could
be packed up into just nothing.
You will understand, of course, that the effect wasn't confined to pocket-
handkerchiefs. The Princess used to serve all her clothing in the same way. If any young lady
will oblige me with well, no, perhaps on this occasion we had better stop at handkerchiefs
but whatever the garment was, the effect was precisely the same.
When the Princess wanted her things larger again, all she had to do was to breathe on
the other side of the article, rub it a little, and stretch it a little. That broke the spell, and it
gradually got larger and larger. In fact, one day she kept on too long, and a nice little
handkerchief got so large that the house-keeper had to take it into use as a tablecloth.
As I was telling you just now, this is the Princess's travelling trunk. You will notice
that its construction is peculiar; it's a sort of chest of drawers with only one drawer. It is very
 KING KOKO 20

portable, and extremely elegant you can see that much for yourselves; but these are the
smallest of its recommendations. If you have a portmanteau like this, you never need be
afraid of thieves. All you have to do is to pack up whatever you want, and when you have
finished, push in the drawer, and say softly, "Hey presto polypodium!" when all the articles
immediately become invisible. Just now, you see, the drawer is empty. (He pulls out the
drawer, shows it empty, and closes it again.) Stop a bit, though ; I am not so sure about that.
It feels rather heavy for an empty drawer. I see how it is! It is really full, but the contents
have been made invisible in the way I have described to you. To render them visible, we shall
have to reverse the spell. The question is, how to manage it. I have it! A touch of the magic
wand will do it. (He touches it with the wand, and, opening drawer, shows that it is now
full.) Yes; it is as I thought. It is full of the Princess's luggage. Here are some of her
belongings, made smaller in the way I told you about. (He exhibits articles of doll's
clothing.) And here is something else refreshments, I suppose, for her journey. Well, she
can't be going to travel to-night, anyhow, so I think I cannot do better than distribute these
among the present company. (He distributes tablets of chocolate, etc., from the drawer.)
The drawer is empty now, at any rate. (He turns it upside down, then re-inserts it in
its case.) At least, it seemed so a moment ago, but appearances are deceitful when there is
magic about. The box still seems heavier than it ought to be. (He again opens it.) Yes; here
is something else. Some of the Princess's bonnet-ribbons, no doubt. A good many of them,
too. (He produces yard after yard of paper ribbon, finally pulling the drawer completely
out of the case, and showing it manifestly empty.)
Come, that is all out at last. There is no mistake about the drawer being empty this
time, as you can see for yourselves. (Standing the drawer on end, with the inside turned
towards the spectators, he opens out the case, showing that likewise empty, then closes it
again and replaces the drawer.) Something still rattles inside, though. There must be
something in it that I didn't notice. (He pulls out the drawer once more.) Yes; here is a
picture-postcard! And another and another! In fact, the drawer is full of them. I had better
distribute these also. (He does so.)*
And now I had better put the Princess's own belongings back again. She will want
these for her own use. (He replaces the doll's clothing and closes the drawer.) I just touch
the box with the wand the other end this time and the articles again become invisible
till further notice. (The drawer is once more opened and seen to be again empty.)
But to return to the Princess herself. Finding that the course of true love wasn't
running smooth, off she went to her fairy godmother, and told her all about it. The fairy
listened attentively to all she had to say. When she had quite finished (which took some
time), the old lady replied, "Your description of the young man sounds very nice, my dear;
but before I can do anything for you, I must satisfy myself that he is sincerely attached to you,
and not merely coming after you for your fortune." The Princess felt indignant that such a
thing could even be imagined possible; but she thought it best not to say anything. The old
fairy put on her spectacles, took down a magic book, and read a chapter or two in the original
Japanese. Then remarking, "Slantha gal mavourneen," or words to that effect, she took a
small box (here it is), a little silver table, and a pack of cards. (He exhibits the articles in
question.) "Now, my dear," she said, "you shall be the Queen of Hearts, and your lover shall
be represented by let me see we will say, the Knave of Spades." "Can't you make him

*
This final production is only practicable where the "dissecting" form of drawer-box is used. (See Chapter II.)
21 KING KOKO

Hearts too?" said the Princess, who rather fancied herself at Bridge. "Spades are such a very
poor suit." "Hearts let it be," said the old fairy.
The Princess naturally thought the fairy would look over the pack, and pick out those
two cards, but she went to work a much shorter way than that. She just dropped the pack into
a glass like this, and said, "Queen of Hearts and Knave of Hearts, attention!" And behold!
these two cards immediately climbed up out of the pack, and fell upon the table,
KING KOKO 22
23 KING KOKO
 KING KOKO 24

just as you see them now. (The two cards named rise up out of the pack, and fall upon the
table accordingly.)
I dare say some of you would like to know how this is done. Well, the fact is, a little
fairy gets into the glass, puts his shoulder under the cards, and pushes them up. You don't
believe it? Well, I didn't myself, at first; but there really is no other way to account for it.
Here is the glass, and here are the cards. Have a look at them for yourselves. I should like to
be able to show you the fairy too, but I have never been quick enough to catch him.
"Now, my dear," said the old fairy, "we'll put you that is to say, the Queen of
Hearts on this little silver table, and cover you up so." (He places the card as described,
and the cover over it.) "And we'll put the Knave of Hearts that's your young man in this
little box, and shut him up so." (This is also done.) "Now, if he really loves you, wild
horses won't hold him, much less a little box like that. He will escape from his imprisonment,
and go and join your card on the little table. Abracadabra! Prestissimo! Fly!' Let us see
whether he has done so." (The box is opened, and is found empty.) "He has left the box,
anyhow. And now let us see whether he has found his way to you on the little table. Yes; here
he is." (The table is uncovered, and the two cards are found together.)
The Princess clapped her hands. "Yes, my dear," said the fairy, "that is all very well,
as far as it goes. That proves that he is sincerely attached to you; but I have still to be
satisfied as to his moral character." The Princess very nearly said, "Oh, bother his moral
character!" (young people in love are so inconsiderate), but fortunately she refrained, or very
possibly the fairy wouldn't have helped her any more, and I shouldn't have had any story to
tell you. Her godmother picked up a magic ball, with a string running through it. Here it is.
(He exhibits ball, as described.) "This, my dear," she said, "is my moral barometer. As you
see, the ball runs quite loosely on the string; but I shall put it under a magic spell, and then, if
your lover is really a good young man I don't mean storybookically good, you know, but
just good enough to be nice the ball will move up the string."
This seemed so unlikely that the Princess couldn't help feeling a little bit nervous. She
said, "Oh you can't expect any young man to be good enough for that." But the old fairy
merely remarked, "Ne plus ultra," or something of that sort, and the ball immediately began
to climb up the string-like this, as naturally as a toy monkey climbs up a stick. "That's all
right," said the old fairy. "Now, my dear, I am satisfied that he is the right sort of young man.
Tell him to go boldly to your papa, and ask for your hand, and if he gets into any difficulty,
I'll get him out of it."
Before we go further, perhaps some gentleman would like to try the moral barometer
on his own account. You will, sir? Ah! the ball runs down. Will some other gentleman try?
The same result! Some other gentleman? (The ball in each case runs down the string.) Dear,
dear! this is very sad. I am afraid you are none of you quite up to the old fairy's standard of
perfection. Really good young men are getting terribly scarce nowadays.
What do you say? Try it again myself? Oh, certainly! (He does so, and the ball again
runs up the string.) I made up my mind in early life that I would be good as well as beautiful;
and I have gone on that principle ever since. The moral barometer has no terrors for ME.
But to return once more to the Princess. After the fairy was satisfied, she began to get
a little anxious herself. "Do you really think, godmamma," she said, "that papa will ever
consent to my marriage with Otto? That old wretch of a Baron has told such dreadful stories
about him." "Cheer up, my dear," said her godmother. "If I couldn't get the better of an old
fraud like Von Schwindelheim, I'd retire from the fairy business altogether. But if you would
like to make quite certain as to your future, my magic mirror will tell you your fortune at
25 KING KOKO

once." But suppose it should be an unlucky one?" said the Princess. "Faint heart never won
fair moustache," replied the fairy. (There seems to be something not quite right about that
remark; but that's what the fairy said, anyhow.) The Princess clasped her hands. "All right,"
she said; "I'll risk it."
So the fairy produced the magic mirror. Here it is. (He exhibits a small picture frame,
with plain dark background.) It isn't exactly a mirror, as you see, but it's a good-looking
glass, though it isn't a good looking-glass, and wouldn't reflect even a good-looking lass. This
is a joke, ladies and gentlemen. It is a little complicated, and you may not see it at once; but
if you persevere, it will dawn upon you gradually. Think it over at home, and if you don't see
it in a day or two, send me a postcard, and I will call and explain it.
At present, you see, the glass has merely a plain dark background, without any mark
or figure upon it. The old fairy held it up, and fanned it so. (He holds up the frame, and
fans it, using the restored fan, if it has been introduced, to do so. If no fan is available, a
handkerchief may be used instead.)
`The Princess was breathless with excitement. She saw letters forming gradually upon
the dark back-ground, and presently she spelt out, "A-l-l w-i-l b-e w-e-l," whereupon she
clapped her hands, and jumped with joy. There is no deception about it, ladies and
gentlemen; you can see the writing for yourselves. The spelling is a little defective, but that
proves its genuineness. Spirits never can spell. If you were to call up Chaucer or
Shakespeare, or even Lindley Murray himself, you would find he couldn't spell "for nuts."
I've tried them.
So the Princess went home in capital spirits. Meanwhile, the King was consulting
with the Baron as to the best way of getting rid of the unwelcome suitor. The King scratched
his head, and the Baron scratched his head, but nothing came of it. At last the Baron
exclaimed, "I've got an idea." "You don't say so," said the King. " Make a note of it at once;
you don't get 'em often. What is it?" "You must ask him riddles." "What on earth is the good
of that?" said the King. "Why, if he can't guess them, it will be clear that he is a stupid sort of
fellow, and not good enough for the Princess." "But suppose he guesses them, you old owl?"
said his Majesty. "That's where the idea comes in," replied Von Schwindelheim, with a wink.
"You must ask him riddles of the catchy sort; the sort that haven't got any answers." The
King slapped him on the back, and said, "Beshrew me, Baron, but thou art a crafty knave. I
will e'en follow thy counsel."
So the next time Von Smith called, the King asked him, "Which would you say, 'Six
and five is thirteen, or six and five are thirteen?"' But Von Smith had been sold that way
before. He politely but firmly replied that he shouldn't say either the one or the other. He
would say, "Six and five are eleven." Whereupon the King, finding that he was not to be
caught, flew into a tremendous rage. He said that was the old-fashioned way of counting, and
unless Von Smith could prove that six and five were thirteen, he shouldn't marry the
Princess. "I will endeavour to do so, as your Majesty wishes it," replied Von Smith, who had
had a private tip from the fairy. So he took a couple of plates, like these, and gave one to the
King to hold, and the other to Von Schwindelheim. Who will be the King, and who will
represent the Baron? (A plate is handed to each of the two spectators volunteering.) Then he
counted out five shillings on the one plate, One, two, three, four, five;" and six on the other,
"One, two, three, four, five, six." Then he mixed them together so (the coins are poured
from the one plate into the other), and when the King counted them again, the six and five
made thirteen. Count them for yourselves, and see if it is not so.
 KING KOKO 26

`But the Baron was not going to give in so easily. He surreptitiously pocketed two of
the coins, and declared that Von Smith had counted wrong, and must submit to a further test.
"All right," said Von Smith. "Ask me a more difficult one." But the King said Von Smith was
too good at riddles, and he would rather try something different.
Von Schwindelheim winked at the King, and said, "Never fear. I've got a poser for
him." There was a woman out in the street crying white sand and grey sand. "Who'll buy my
white sand? Who'll buy my grey sand?" The Baron rushed out and bought a pennyworth of
each (here it is, you see), and then he fetched the Royal washhand-basin. He took one or two
handfuls of the white sand, and one or two of the grey sand, put them in the water, and stirred
them well together like this. "Now," he said, "when this gay young springald separates
those two lots of sand, your Majesty may safely let him marry the Princess." "So mote it be,"
said the King, with a cheerful smile.
But, to his amazement and disgust, Von Smith just turned up his shirt-cuff-like this,
dipped his hand in the water, and fished up, first the one, and then the other, lot of sand,
perfectly dry, and not mixed in the least. (The sand of each colour is shown dry accordingly.)

The King was so annoyed that he smashed the washhand-basin over Von Schwindelheim's
head, a great part of the water going down his back. Von Smith claimed his Majesty's
promise, but the King said the sand wasn't properly mixed, and that he must submit to
another trial.
`After much cogitation, the King said he would be satisfied if Otto brought him a pint
of Rainbow Water. You don't know, perhaps, what Rainbow Water is. It is water which has
had some bits of a broken rainbow dissolved in it, and which will show all the colours of the
rainbow in turn. Von Smith foolishly imagined that there must be plenty of it about; but he
didn't find it so. He inquired for it at seventeen different chemists' shops, without success.
Not one of them had ever heard of it, but not one of them said so. Some said it wasn't used
now, and some that they were just out of it; but they all wanted him to take something else
instead. One man said Hunyadi Water was much better than Rainbow Water; and another
recommended Mother Seigel's Syrup. One wanted him to try a new kind of soap; and another
told him there was nothing to beat Keating's Powder. He got so angry at last that he had to
kill two or three chemists to relieve his mind; after which he sat down and read right through
the Encyclopaedia Britannica, but Rain-bow Water was not even mentioned in it, which
shows that the work is not really so up-to-date as it professes to be.
`At last he did what he ought to have done at first. He went and consulted the old
fairy, who happened to be taking afternoon tea with the Princess. She told him that Rainbow
Water was only to be got in one place in the world, and that was at the top of one of the
Unapproachable Mountains, on the farther side of the Undiscovered Islands. The water was
guarded by a dragon, with a head as big as an omnibus, and a breath like a motor-car. It took
seven years to get there, and fourteen to get back if you ever came back at all, which was
exceptional.
Von Smith said a naughty word I really don't think you can blame him and the
poor little Princess began to cry. But the fairy merely smiled in a scientific sort of way. "Trust
in me, my children, and all will yet be well. 'Propria quae maribus,"' she suddenly exclaimed,
and poked the fire with her wand, when out of the very heart of the hot coals came a handsome
bird, and roosted on the top bar of the grate. "What a lovely pheasant!" exclaimed the Princess.
"Pheasant! my dear," replied the fairy; "this isn't a pheasant; it's a phoenix." "You don't say
so?" said the Princess. "Is a phoenix a bird, then? I thought it was a Fire Insurance Office!"
27 KING KOKO

The fairy took no notice of the remark, but tipped all the sugar out of the sugar-basin,
and gave one lump to the phoenix; after which she said, in commanding tones,
"Cryptoconchoidosyphonostomata!" The phoenix flapped his wings, and, taking the sugar-
basin in his beak, flew out of the window. In three minutes and three-quarters he was back
again. "Fastest time on record," said the fairy, looking at her stop-watch, and giving the
phoenix the rest of the sugar. "And here, my dear," she continued, showing that the basin was
now full, "here is your sample of Rainbow Water."
Von Smith decanted the water into a bottle here it is (performer exhibits carafe of
water and six wine-glasses) and went off to the Palace with it under his arm. He borrowed
half a dozen wine-glasses from the chief butler (all the King owned, as a matter of fact), put
them in a row before his Majesty and the Baron, and asked the band to play a little slow music.
"What ho!" he remarked, as he filled the first glass, and the water remained clear. "Gramercy!"
he exclaimed, as he filled the second, wherein it became crimson. "Marry come up," and he
filled the third, wherein it became of a lovely blue. "By my halidame!" and in the fourth it was
violet. (The glasses are filled in turn, with the results indicated.)
But at this moment Von Schwindelheim nudged the King, and said, sarcastically,
"Chemicals!" "Chemicals in thy throat, base varlet," retorted Von Smith. (That was the way
high-class people talked in those days.) "Taste for thyself." And he offered Von Schwindelheim
the glass of clear water he had first poured out. The Baron declined, saying he never took it.
The King also declined, so Von Smith drank a little himself, and poured the rest back into the
decanter (performer does so), to show that there was no deception, after which he again filled
the empty glass. "Potztausend," he remarked this time; and the water appeared a brilliant
orange. He wiped the other two glasses with his handkerchief (performer does the same),
merely observing, as he filled them, "Houp la!" and "Bismillah!" and the contents appeared as
you see them a beautiful scarlet and green.
But Von Schwindelheim, with a disagreeable smile, reminded the King that there are
seven colours in the rainbow, and Von Smith had produced only six. Consequently, he
maintained, this could not be the real genuine Rainbow Water. There was no more of the water
left, and they had broken a wine-glass, so they couldn't settle it, and the King said the young
man must submit to a further test.
Von Smith didn't much mind, because he knew the old fairy would help him out, and he
thought the King must give in at last; but the next problem was a staggerer, and he couldn't
help feeling a little bit nervous about it. He was required to prove that the same thing may be in
two places at the same time, which he knew was unusual. To gain time, he said he should have
to consult his solicitor; but of course he didn't. This time he went straight to the old fairy, and
told her, with a very long face, what he was required to do. She was amused at his feeling
bothered over a little thing like that, and gave him a block of wood which she said had just that
peculiar quality of being in two places at the same time, or a few more, if necessary. Here it is.
(The performer exhibits a large die and a cover exactly fitting it.) I am obliged to keep it
covered up like this, or else it would be in half a dozen places, and I should never know where
to find it. There's nothing particular about the cover, so I should like you to examine it
thoroughly. It is merely a square paste-board tube, open at each end. That is in order to allow
the block of wood to fly out at the top when I want it to. You see, the cover just fits the block.
Now I should like you to examine the block itself. You will find it a good, honest, solid piece
of wood, as free from deception as I am myself which is saying a great deal.
But to return to Von Smith. He started off to the Palace, with the block under one arm,
and the cover under the other. When he got there, he asked the King to lend him his crown. The
 KING KOKO 28

King said he wouldn't trust him with half a crown, much less a whole one. With great presence
of mind, Von Smith laughed at the joke till he had to sit on the floor, and told the King that he
was a funnier man than Dan Leno; which pleased him so much that he said, if Von Smith
would promise not to produce any cannon-balls or rabbits from it, he would lend him his crown
for just five minutes. If any gentleman present happens to have a royal crown about him, I shall
be glad to borrow it. I might even make shift with a ducal coronet. Nobody offers! Well, then, I
must make a tall hat do instead. (A hat is borrowed.) Come to think of it, there's a crown in this
hat, so it comes to almost the same thing.
Von Smith put the block of wood on the table like this, and covered it with the hat I
should say, with the crown. "Now, your Majesty," he said, you can't deny that that block of
wood is under your crown. Now I am going to show you that it is also under this cover." "Stop a
bit," said the King. "No larks! Let's have a look at that cover." You see, the King thought
people are so suspicious that he probably had another block of wood there already. Von Smith
looked at him more in sorrow than in anger. He took the King's scepter like this, and passed it
right through the cover; in fact, he all but poked Von Schwindelheim's eye out, for he was
peeping in at the other end. (Wand passed through cover, and spectators allowed to see right
through it.) After that, both the King and the Baron couldn't help admitting that the cover really
was empty. When he had quite convinced them, Von Smith turned it up on end so, and said
softly, "Arma virumque cano," and when he lifted it up again, there was the block, sure enough,
under the cover. (The cover is lifted, disclosing die, and then again replaced.) Von
Schwindelheim made a grab at the crown and lifted it up, expecting to find nothing under it; but
he was disappointed, for the block was still there, as at first (die again shown under hat), and the
King was going to admit that it really had been in two places at the same time. But the Baron
disputed the fact. He declared that it was the quickness of the hand that deceived the eye, and that
Von Smith had only passed the block with great rapidity from the one place to the other; which,
between you and me only don't tell anybody is how it was really done, for, you see, the
block is no longer under the cover (cover lifted, and shown empty), but only under the hat (die
shown accordingly), so that it wasn't actually in two places at the same time, though it travels so
quickly that it comes to almost the same thing.
After a great deal of consultation, it was agreed that if Von Smith could add up three
numbers, one to be written by the King, one by the Princess her self, and one by Von
Schwindelheim, he should really marry the lady. No doubt you will think that was the easiest task
of all. Just to add up three numbers. Why, anybody could do that! But I have omitted to mention
one rather important condition. Von Smith was to find out the total of the three numbers without
seeing them, or knowing what they were, which makes a good deal of difference.
Von Smith knew that the fairy would help him out as usual, but he didn't see the fun of
being made a fool of indefinitely. So he said to the King, "Will your Majesty swear by the Holy
Poker that if I succeed in this last test, you will let me marry the Princess without further ado?"
The King did not much like the idea of swearing by the Holy Poker, because it was a law
of that country that if any one swore by the Holy Poker, and did not keep his word, the Holy
Poker was made red hot, and used after the manner of the Freemasons. Not being a Freemason
myself, I can't tell you exactly what that is, but I am given to understand that it makes it
uncomfortable for the party concerned to sit down for some time afterwards. However, the Baron
winked at him, and said, "Swear away, old chap; he can't possibly do it."
So the King swore by the Holy Poker, and Von Smith departed till the next Bank Holiday,
when the grand trial was to come off. On the appointed day the whole Court assembled. The
King sat on his throne, with the Princess on a chair of state on his right hand, and the Baron (who
29 KING KOKO

had had his hair curled for the occasion) in another on his left; while the Grand Panjandrum, with
his gold stick in his hand, marched up and down to keep order. There was a grand flourish of
trumpets, and then Von Smith appeared, with his Sunday clothes on, and a common slate (here it
is) under his arm. He handed out three blank cards, like these one to King Koko, one to the
Princess, and one to Von Schwindelheim. Will two gentlemen and a lady be good enough to
represent those three exalted personages? Now, please, each take one of these cards, and write, as
secretly as possible, a number of three figures, no more and no less, fold the card in half, and
place it in this little envelope. That is done? Now I will ask the last gentleman to fasten up the
envelope. (He takes the closed envelope from the holder.)
Then there was another flourish of trumpets, and the envelope with the three cards in it
was handed to the Grand Panjandrum. Who will under-take the duties of the Grand Panjandrum?
It must be somebody who has not written a number. You will, sir? Then we will place the
envelope in your charge.
Von Smith asked no questions. He just cleaned his slate on both sides (slate cleaned
accordingly), showed it blank, as it is now, and threw it down on the ground. We will put ours on
the table, which will be handier. There was heard a sound of writing on the under side (you can
hear it your-selves, if you listen attentively), and then he picked it up again. Meanwhile the
Grand Panjandrum had been adding up the figures on his own account. Will you do so, sir, on the
back of the envelope, as secretly as you possibly can? Here is the total," said Von Smith, turning
up the under side of the slate. "It comes to 1585." And the Grand Panjandrum had to admit that
the number was correct. You find it so, sir, do you not? (The figures are compared, and found to
be alike.)
Having sworn by the Holy Poker, the King dared not break his word, but he relieved his
feelings by kicking Von Schwindelheim all round the Palace courtyard, for having persuaded him
to swear, and got him into such a fix. But just as he was compelled to pause for lack of breath,
the fairy appeared, in a chariot drawn by two mock turtles and a Welsh rabbit, and revealed that
Von Smith was the long-lost son of Rhodocanthus the Eleventh, King of Polypodia, and had just
succeeded to his father's kingdom. Whereupon King Koko's feelings underwent a complete
change, and he kicked Von Schwindelheim round the courtyard again in the opposite direction,
for having opposed so desirable a match.
There isn't much more to tell. The Baron, having lost his situation, turned quack doctor,
and invented the celebrated "Blue Pills for Blue Devils." Unfortunately, he one day by mistake
took two of them himself, and he never smiled again. The memory of those pills was always with
him. He went through life with one hand constantly pressed against the lower part of his
waistcoat. When he died, he became a family ghost, and haunted the Palace wine-cellar, still with
his hand in the same position.
The Prince and Princess were married the very next day. The King danced five dances
with the fairy godmother, and said he had never enjoyed himself so much in his life.

The moral of this story is obvious. Never be rude to a nice young man, even if his name is Smith
and he has a ginger moustache, because he may be a prince in disguise. (Of course he may not,
but you never can tell.) And never take quack pills.
 KING KOKO 30

CHAPTER II
PRACTICAL EXPLANATIONS
THE first step of the intending performer will be the selection of the effects to be included in his
programme; the story being purposely so arranged as to allow of the omission of almost any
given item without prejudice to the main plot. In any case, the narrative should be so far
shortened as to occupy not more than an hour in delivery. Sam Weller's celebrated dictum as to
"the great art of letter-writing," to make people "wish there was more of it," applies with even
greater force to conjuring.
Roughly speaking, about half the items will be found a sufficient number for a single
performance. In making the selection, the better plan will be to decide in the first place what is to
be omitted. Some tricks may probably be ruled out at once by the fact that the performer does not
possess (and does not care to purchase) the necessary apparatus; and others may be excluded by
reason of lack of confidence in his own powers. The tricks described demand, for the most part,
very little skill in actual sleight of hand, and are within the compass of any one of ordinary
intelligence, and having the usual complement of hands and fingers. On the other hand, no
conjuring trick can be effectively presented without a reasonable amount of practice. The actual
amount necessary will vary in inverse ratio to the degree of natural aptitude.
Having made his selection, the next step of the neophyte should be to memorize, one by
one, the appropriate sections of the story. It is not necessary that he should be able to give the
"patter" verbatim, as set down; but, unless he has by nature "the gift of the gab," the more closely
he sticks to a pre-arranged text, the better will it be for his own comfort, and the credit of his
performance.
Simultaneously with the memorizing process, he should practise the execution of the
particular trick involved. When he has mastered each item singly, he should then rehearse his
intended programme as a whole, making his preliminary preparations as complete, and going
through every act as minutely, as he would for the actual "show."
31 KING KOKO

1. The Magical Production of a Flower in the Buttonhole.*

This is an old trick, but of late years has been so little exhibited in public that it will be to
most audiences a complete novelty. Apart from the effect being in itself a pretty one, it has the
incidental recommendation of calling attention, in a natural and striking way, to the pretended
virtues of the magic wand.
For the purpose of the trick, the coat worn by the performer will require a little special
preparation, viz. the insertion of an eyelet (similar to those used in ladies' corsets) in the
substance of the coat, immediately behind the buttonhole in which the flower is to appear. A
button must be sewn to the vest at the same (left) side, just over the trouser-pocket.
The rose used in the trick is an artificial one, the stalk of which has been cut off close to
the calyx. One or two green leaves are sewn to the outside of the flower, and a hole is made with
a stiletto through its centre. Through this hole a short piece of thin but energetic black silk cord-
elastic is drawn, and secured on the inner side of the flower by a fair-sized knot. The elastic is
then passed through the buttonhole and eyelet, and its free end, at a distance of about ten inches,
formed into a loop, which is slipped over the button before mentioned. The length of the rubber
should be so regulated that it shall hold the flower taut against the buttonhole, though without
sufficient strain to disarrange the set of the coat-lapel.
When the performer desires to show the trick, he draws the flower, just before making his
appearance, a few inches away from the buttonhole, and tucks it under the left armpit, retaining it
there by the pressure of the arm. He advances, holding his wand in the right hand. To produce the
flower, he pronounces the words, "One-Two-Three!" accompanying each word with a quick
wave of the wand. At the word "One!" he brings it smartly down across the buttonhole. At the
word "Two!" he gives it an outward and upward swing to the right, and at "Three!" again brings
it across the button-hole, at the same moment elevating the left arm. The flower, being thereby
released, flies to the button-hole, the sharpest eye being unable to detect the manner of its
arrival.*
There is another method of performing the trick, for which three advantages are claimed;
first, that it is much less known; secondly, that the eyelet is dispensed with; and lastly, that the
performer can raise both arms as freely as he pleases before performing the trick, to the
puzzlement of any knowing ones who may happen to be acquainted with the older method.
In this case, a piece of stout sewing silk is used instead of the elastic cord. Of this, one
end is made fast to the rose. On the other end a needle is threaded. This is passed (from the
outside) through the buttonhole and the cloth beneath it. The needle is then removed, and a loop
formed upon the end of the thread, which should be so regulated in point of length that when the
flower rests against the buttonhole, the loop shall hang level with the lower part of the opening of
the trouser-pocket. At this point a lady's black dress-hook is sewn, with its open end downwards.
The flower in this form of the trick is placed at the outset underneath the left breast of the
performer's coat. The left arm is carelessly elevated, to prove, to any one who may suspect the
contrary, that the flower is not under the arm, the hands being at the same time shown empty.
The performer then pulls the thread with his left hand, at the same time rubbing the buttonhole
with the fingers of the right, the flower being drawn into position under cover of this hand. The
loop is then hitched over the hook, thereby preventing the flower shifting from its place. A black
*
For list of articles required in the performance of the various tricks, with their approximate prices, see Appendix.

*
Compare Modern Magic, p. 412. This and succeeding references to my larger works are inserted in the interest of readers who may possibly
desire to go more deeply into the subject of the trick under discussion. The explanations here given will, however, be found in each case fully
sufficient, without recourse to any other source of information.
 KING KOKO 32

bead, threaded on to the loop, will be found a material assistance in getting hold of it at the right
moment. A still better plan is to make the loop of very thin black elastic, continued as single cord
for about three inches, and then joined to the thread.
Upon the whole, the method first described will probably be found the easier by the
novice. Continental conjurers, by the way, sometimes substitute a thread, wound on a watch-
barrel, for the elastic; but I cannot see that anything is gained by the alteration.
33 KING KOKO

2. The Self=suspending Wand.

Figure 1
Figure 2

Figure 3

Figure 5

Figure 4
The qualities of the ideal wand for this trick are somewhat paradoxical. It should be both a light
and a dark one. In point of weight, it should be light. I myself, for this particular use, have a wand
made hollow from end to end, thereby securing the desired lightness without any alteration of
appearance. In point of colour, it is, desirable that the wand should be black, for a reason that will
presently appear. Ebony should however be avoided, as being unduly heavy. The mount at each
end should be of ivory, and it will be found an advantage to have a scarcely perceptible groove,
no deeper or wider than the thickness of a finger-nail, cut at the points where the mounts meet
the body of the wand.
The above are, however, "counsels of perfection." It is possible to perform the trick with
almost any wand, and in default of the regular article, a short piece of rattan" or whangee"
cane, or any cane with joints at short intervals, will make a very good substitute.
The working portion of the apparatus is on the person of the performer. It consists of a
cylindrical brass or leaden weight, about two inches in length and three-quarters of an inch in
diameter. The ends are rounded, and in one of them a screw-eye is inserted. This weight is
suspended within the right trouser-leg, in manner following. A needle is threaded with a piece of
fine but strong black silk thread, about four feet or four feet six in length. The needle is then
 KING KOKO 34

thrust through the performer's vest from the inside, about level (assuming the vest to be of the
"evening dress" kind) with the topmost button, and then in again, at a point one inch lower than
that at which it came out. Both ends of the thread being thus brought within the vest, the needle
is removed. The ends are knotted together, passed through the eye of the weight, and tied
securely. This done, the weight is allowed to slide gently down within the trouser, and the vest is
buttoned. All that remains outside the latter is the portion of thread, one inch in length, between
the holes where it emerged and re-entered. The performer, by inserting his right thumb beneath
this portion, can draw out the thread in a long loop, lengthening as he draws it farther out, but
shortened again, by means of the downward pull of the weight, the moment the outward pressure
is removed.
The dexterous use of this lengthening and shortening loop forms the whole secret of the
trick. Holding the wand, just previously examined, across his body, the performer slips the right
thumb under the thread, drawing it out, say, an inch and a half, and inserts the end of the wand
within the bight thus formed, which he then pushes along the wand (at the same time lengthening
it out as may be necessary) till it reaches the middle.
The reader will now appreciate the reason for preferring a black wand. Against any part
of such a wand, the thread is absolutely invisible, even at close quarters. If a wand of light colour
be used, the performer will have to keep at some distance from the spectators, unless, indeed, a
jointed cane be used as a substitute, in which case all that is needed is to slip the loop over one of
the joints, when it will be, as before, invisible. The operator must, however, in either case take
care, in his subsequent manipulations, not to let the spectators get a view of the thread against his
white shirt-front as a background, as this would at once give away" the trick.
But to return to the actual working. Having got the thread to the middle of the wand, the
performer grasps it as in Fig. 1, and proceeds to magnetize" it, by drawing each hand alternately
to the outer end. Holding it horizontally before him, about a foot away from his body, he then
opens the hands, the wand retaining its position, as if attracted to them by some mysterious force,
as in Fig. 2. Again closing the hands, he slides them outwards till each end of the wand is only
held between the forefinger and thumb. The fingers being then extended, the wand rests against
the thumbs only, as in Fig. 3. Next, grasping the wand by the extreme end with the left hand, the
performer tilts it into a vertical position, and placing the right. hand behind it, holds
it suspended by the outward pressure of the thumb and little finger only. Again grasping the
lower end with the left hand, he pushes up the silken loop with the thumb of the right until it
rests in the little groove above described (p. 66) between the body of the wand and the ivory
mount, when the wand remains suspended from the right thumb only, as in Fig. 4. The thumb, it
will be observed, is in this case below the loop. The left thumb may now be applied immediately
above the loop, and the right thumb removed, the wand being thus transferred from hand to hand.
Once more the right thumb is applied below the loop. By a slackening of the pressure the wand is
allowed to come within six inches or so of the body. The performer then offers the wand for
examination, as indicated in the "patter."
As he steps forward for this purpose, he folds the fingers down on the outer side of the
wand, and in offering it for examination, tilts it, lower end foremost, into a horizontal position,
when the loop is automatically drawn back off the wand, and the thread is drawn by the weight
close up to the vest, as at first.
With a little practice, it is possible to hold a light wand supported by the finger-tips,
without any extraneous aid whatever. To do this, the four fingers must be spread out to the
utmost, and laid along the middle portion of the wand, as in Fig. 5. The second and third fingers
draw the wand towards the performer, while the first and fourth force it away from him; this
35 KING KOKO

pressure in opposite directions affording just sufficient grip to support it. Held in this manner, it
may be handed to one person after another in the audience at the closest quarters. As in this case
there is manifestly no supporting medium save the hand itself, the average spectator accepts it as
an article of faith that the same was the case in the earlier stages of the trick, in which case
magic" is the only feasible explanation.
 KING KOKO 36

3. The Coin melted in the Candle.

Figure 6 Figure 7

Figure 8
Figure 9
This is a trick of pure sleight of hand, and, well worked, is brilliantly effective. If the reader is
not confident of doing it justice, I would recommend him to omit it from his programme, for it is
too good to be spoilt by clumsy execution. It does not, however, offer any difficulty save such as
a fairly adroit person can conquer with a little perseverance.
The first step will be for the operator to make himself expert in a little sleight known to
conjurers as the "finger palm." To acquire it, take a half-crown in the right hand, held palm
upwards, as shown in Fig. 6, the coin lying upon the second joint of the middle finger. Make the
movement of placing the coin in the left hand, but simultaneously with the turning over of the
right hand, separate the forefinger of that hand a little from the rest, and bring it over the edge of
the coin, tilting the latter into an erect position between the first and second fingers, as in Fig. 7.
The novice is recommended to practise this clipping process first with the hand at rest. When
once it has become familiar in this shape, he will find no greater difficulty in executing it with
the hand in motion.
The requirements for the trick consist of a candle-stick and lighted candle, and a little ball
of tinfoil, crushed pretty closely together, so as to measure about five-eighths of an inch in
diameter. This is impaled on the point of a black pin, thrust through the performer's vest (from
the outside) on the left, near the centre, in such manner that the coin, thus suspended on the pin,
shall be just covered by the lower edge of the vest.
Having borrowed the needful half-crown, the performer proceeds to "mesmerise" it. To
do this, he takes it, in the manner described for the finger palm, on the fingers of the right hand,
and thence transfers it (in this case there being really "no deception") to a similar position on the
fingers of the left. He then rubs it gently with the fingers of the right hand; picks it up with the
right second finger and thumb, and holds it over the candle-flame. To show that it is becoming
soft, he takes it vertically between the two hands, fingers in front and thumbs behind, as shown in
Fig. 8. He then brings the knuckles towards each other till, they all but meet, repeating this three
or four times. By a curious optical illusion, the coin appears to bend with the movement of the
fingers.
37 KING KOKO

At this point the performer exhibits the coin once more to the owner, that it may be
identified by the mark on it. When he professes to mesmerise" it for the second time, he takes it
in the right hand and, ostensibly, de-posits it as before on the fingers of the left. But on this
occasion he makes use of the finger palm, and so retains the coin between the first and second
fingers of the right hand, while with the tips of the same fingers he makes the rubbing motion as
before on those of the left hand (whereon the coin is professedly lying). After a moment or two of
this, he closes the fingers of the left hand against the thumb, as if holding the coin between them,
and with the right hand picks up the candlestick, holding it between finger and thumb as in Fig.
9, the coin, concealed as above in the hand, forming no obstacle to his doing so.* The coin,
under these conditions, is completely masked by the thumb, and the candlestick can be brought
quite close to the spectators without revealing its presence.
Holding the left hand just above the candle, the performer proceeds apparently to rub the
coin away into the flame, and to show the hand empty. At the moment when he calls attention to
the (imaginary) bright spot in the flame, thereby drawing all eyes to the candle, he with the left
hand secures the foil ball from under the vest, and rolls it with the thumb between the roots of the
second and third fingers. This done, with the thumb and fingers of this same hand he makes a
grab at the flame, and under cover of a rubbing motion of the fingers, motived ostensibly by the
supposed heat of the metal, gradually works the ball with his thumb to the finger-tips and
exhibits it.
Then, taking the ball between the thumb and finger-tips of the right hand (the half-crown
being still concealed therein), he offers the ball to the owner of the coin, who naturally declines
to accept it. In order, professedly, to flatten it out, the performer brings the finger-tips of both
hands together, and, under cover of the movement, with the thumb rolls the foil ball (passing
below the coin) between the roots of the second and third fingers of the right hand. The moment
he has done so, he presses the coin upwards with the thumb till it lies flat against the fingers. He
does not immediately exhibit it, but works it round and round for a moment or two between the
fingers, gradually allowing its edges to be seen. Having professedly flattened it out, he draws it
back with the right thumb so as to bring it just over the foil ball, which is thereby concealed, the
hand being apparently quite empty save for the coin. The half-crown is then transferred to the left
hand, and thence handed back to the owner, none the worse for its supposed "dematerialization."

*
The candlestick should, if possible, be one with a slender stem. If otherwise, the thumb and fingers should grasp it
at the narrowest part, the presence of the coin being thereby more effectually concealed.
 KING KOKO 38

4. The Half-crown dissolved in a Glass of Water.

For the purpose of this trick the only special apparatus needed consists of a champagne tumbler
and a disc of clear glass, exactly corresponding in size with the internal diameter of the tumbler
at bottom. The disc may rest till needed in the right-hand vest-pocket of the performer. In his left
coat-tail pocket is placed a small orange, specially prepared. A deep incision is made in one side
of it, and in the opening thus made is inserted a fairly old and smooth half-crown, with a cross
boldly scratched on one side of it. Upon the table there should also be a plate, a dessert knife, and
a carafe of water.
While the attention of the company is still occupied by the conclusion of
the last trick (verifying the coin, examining the candlestick, and the like),
the performer gets from the tail-pocket, and palms, the prepared orange.
The presence of the orange in the hand may be masked by holding the
wand by one end in the same hand, sloping upwards, with the left hand
Figure 10
resting on its opposite end. When the performer professedly catches sight
of the orange in the spectator's hair, he steps quickly towards him, and, just as he reaches him,
takes the wand in the left hand with a flourish, and, bringing the right hand somewhat behind the
victim's head, rolls the orange round his neck to the front.
To an expert, confident in his own powers, the position of the person operated upon
would be a matter of indifference. A novice, however, will find it advisable to select for the
purpose some one seated on the extreme left of the audience (as viewed from his own
standpoint), the back of the hand in such case naturally screening the orange from the view of the
other spectators till it has been actually produced.
Having thus secured the orange, the performer returns with it to his table, holding it at
arm's length as if to show "no deception." Just before he reaches his goal, he transfers it to the
left hand (the left arm being in turn outstretched), and places it on the plate, the cut side, of
course, away from the spectators. During the moment of doing this, the right side of his body is
naturally hidden from view, and in that moment he gets from the vest-pocket, and palms in the
right hand, the glass disc.
This done, and the few lines of appropriate patter delivered, he fills the glass with water,
and hands it to some one to hold. He takes the orange, thrusts the knife into it in the cut already
made, and hands it, on the knife, to a second spectator at some distance from the first, with a
request that he will hold it up above his head, thus placing it out of the reach of inconveniently
close scrutiny. The next step is to obtain the loan of a marked half-crown and a handkerchief. In
throwing the handkerchief over the coin, he substitutes for the latter the glass disc.
There are various ways of effecting this change. The plan I myself prefer is to press the
glass disc with the thumb edgewise between the second and third fingers to the back of the hand,
as in Fig. 10. The half-crown is then taken between the second finger and thumb of the same
hand, and the handkerchief thrown over it with the left; but in the moment of doing so, a half-
turn is given to the right hand, bringing the back of the hand uppermost. It is, therefore, the glass
disc over which the handkerchief descends, and which is, in reality, nipped with the left hand
through the fabric.
Another plan is to take the half-crown (with the back of the hand turned towards the
spectators) between the thumb and first and second fingers; between which, a little lower down,
the glass disc is already resting. The edge of the coin is inserted behind that of the glass disc,
which (under cover of the handkerchief) is pushed up by the thumb while the coin is drawn down
by the fingers.
39 KING KOKO

If, as may sometimes happen, the bottom of the glass (inside) is so small as exactly to
correspond in diameter with that of a half-crown, the coin and disc may be shown, the one upon
the other (the coin, of course, foremost), and the coin withdrawn at the moment when the
handkerchief is brought over the disc.
Having, by one or the other of the above devices, got the glass disc (professedly the coin)
under the handkerchief, the wizard hands it to the holder of the tumbler. He is instructed to hold
it just over the water, the performer meanwhile draping the corners of the handkerchief gracefully
around the glass. The disc, when dropped into the water, becomes invisible, and if the tumbler is
one with a reasonably flat bottom, the water may even be poured back into the carafe, the disc
being retained, sucker-fashion, at the bottom of the glass by atmospheric pressure.
The performer having, in due course, shown that the coin is completely dissolved, next
proceeds to get it back again. This is a very straightforward matter. After pouring a few drops of
water over the orange, he invites the holder to cut it open. This is done, and a half-crown
(professedly the half-crown) is found embedded in it. The performer calls attention to the mark
(ostensibly that made by the lender of the coin, but really his own). The acute reader will
doubtless have observed that, before passing it to the actual owner, he wipes it with his pocket-
handkerchief. In so doing, he exchanges the substitute for the actual borrowed coin, which is then
again (and this time correctly) identified.*
The reason for preferring a "well-worn" half-crown is twofold. First, because asking the
loan of a coin of that description secures a fairly close resemblance to the substitute placed
beforehand in the orange; and secondly, because the glass disc, felt through the handkerchief,
does not differ from such a coin as it would do from a new one, with the impression of the die in
sharp relief. A trifle, truly; but on such trifles" depends half the effect of magical illusions.

*
As to this portion of the trick, compare Modern Magic, p. 170.
 KING KOKO 40

5. The Inverted Glass of Water.

This feat depends upon a scientific principle, namely, atmospheric pressure. The secret lies in the
application to the mouth of the tumbler, at the right moment, of a disc of mica exactly covering
it. To ensure success, the rim of the tumbler should be ground mathematically flat, and moistened
before exhibiting the trick.
There are many ways of so disposing the mica disc that it shall be instantly available at
the right moment. It will be a useful exercise for the amateur to devise some satisfactory plan for
himself. A good enough one, for the present purpose, is to place it in a watch-pocket on the left
side of the vest, fairly high up, and covered by the coat, with about one-third of its diameter
projecting above the pocket. The disc so placed can readily be got into the right hand, and
palmed, a few moments before it is desired to bring it over the glass. The best way of doing this
is to cover the glass with the hand which contains the disc, bringing the latter exactly over the
mouth; after which the glass may be inverted, and the hand removed.
When it is desired again to remove the mica cover, the hand should be placed under the
inverted glass, and the latter restored to its natural position. The disc may then be drawn off with
a sidelong movement, before inviting some one else to try his skill.
The fuller the glass is, the more certain will be the result. If the glass has a good edge, it
may even be waved about, mouth downwards, without the smallest fear of a catastrophe.
41 KING KOKO

6. Producing Sweets from a Pocket-handkerchief.

Figure 12

Figure 11
For the production of this pretty effect, the performer must provide himself with a little white
muslin bag, of the form shown in Figs. 11 and 12; the one representing the bag open and empty,
the other "loaded," and closed for use. The "bag" is, in truth, two bags, conical in shape, sewn
back to back, and each capable of being closed at pleasure by folding back a triangular flap
(equal in length to that of the bag itself), and securing it by hitching a ring, attached to its outer
angle, over a little hook sewn to the bag near its apex. A somewhat larger hook, just above,
serves to suspend the bag, mouth downwards, behind any convenient object. If the bag be picked
up by its extreme point, and such point then inclined a little to the one side or the other, the point
of the lower hook on that side is naturally depressed. The ring slips off it; the mouth of the bag
on that side opens, and the contents fall out.
For the purpose of the present trick, one side of the double bag is filled with bonbons
(say, burnt almonds or chocolate creams, with a few sweets of smaller size), and in the other is
placed a small raw onion. The bag, thus "loaded," is concealed behind the "drawer-box" (which
is placed upon the table in readiness for a later trick), with the upper hook resting on its hinder
edge. A plate should be beside it on the table.*
To show the trick, the operator throws the borrowed handkerchief over the drawer-box,
about one-third of it hanging down behind the box, while he shows that the plate is merely a
plate, and has nothing in it. These facts are self-evident, but the calling attention to them serves
as an excuse for the momentary laying down of the handkerchief. It has a secondary motive, in
the fact that an audience which has been repeatedly invited to examine objects as to which there
is nothing whatever to find out, gradually begins to take it for granted that all the performer's
belongings are of the same innocent character, and is the less disposed to inconvenient curiosity
on occasions when he would rather avoid close inspection.
Having exhibited the plate, the conjurer steps back to his table, and picks up the
handkerchief by its central portion, allowing the four corners to hang down. As a matter of fact,
he takes care to nip it just at the point where the handkerchief comes over the hook, so as to bring
away the double bag within it. When he desires to manifest the sweet-producing quality of the
Princess's breath, he has only to tilt the hook on the proper side a little; whereupon the bag opens,
and a shower of bonbons falls out on the plate. By bending the apex of the bag, still within the
handkerchief, in the contrary direction, the other side is opened, and the onion makes its
appearance.

*
If the drawer-box (or some similar piece of apparatus) is not available, the amateur may substitute for it, for the
above purpose, a pile of two or three books, laid one upon another. This forms a very convenient screen for small
objects, inasmuch as it may be adjusted to any height most suitable.
 KING KOKO 42

While the attention of the company is attracted to this last phenomenon, it is an easy
matter for the operator to smuggle away the tell-tale bag.
43 KING KOKO

7. The Broken Fan restored.

Figure 13 Figure 14
This curious effect (which is extremely marvellous to the uninitiated) is a very simple matter, so
far as the performer is concerned. It is produced by a peculiarity (almost impossible to explain in
writing) in the construction of the fan. The tapes by which it is held together are so arranged that,
if it is opened one way (say, from left to right), it falls apart, as in Fig. I3. If opened in the
opposite direction, from right to left, it forms a complete fan, as in Fig. 14, and may be used
accordingly.
It is not, however, advisable to allow it to be handled, as a chance opening in the wrong
direction would again reduce it to a graceful ruin.
 KING KOKO 44

8. The Magical Production of Flowers.

This very pretty trick depends upon the skilful use of a number of "spring" flowers. These are
not, however, the ordinary "flowers that bloom in the spring, tra la!" but flowers with petals of
silk or paper; so arranged, upon a delicate V spring at the centre of each, as to fold flat under
pressure, again expanding to their normal dimensions the moment such pressure is removed.*
They are made in various shapes, qualities, and sizes, and at various prices, ranging from four
shillings and sixpence per hundred to one shilling or more per dozen. For the first stage of the
present trick the cheaper flowers will answer the purpose well enough, but in the second an
admixture of the better kind, to be offered for closer inspection, adds to the effect.

We will suppose that the performer has provided himself with a hundred or so of
the cheaper flowers, and three or four dozen of the more elaborate. There will be
found at the conjuring depots various wire clips and other contrivances for
holding a number of them in a compressed condition till needed. A simple and
Figure 15 effective "fake " for the present purpose may be made of a couple of discs of
cardboard, each about two and a half inches in diameter, with a shallow notch on each side, as
depicted in Fig. 15. To one surface of each is pasted one of the "spring" flowers in its expanded
condition, and to the other a similar flower, but without spring, and pasted down flat. The two
discs are held together, with the expansible flowers inwards, by a rubber band, and between them
are packed a goodly number of the loose "spring" flowers. These, carefully arranged, lie so
closely that a hundred, or nearly, may be packed between such a pair of discs as above
mentioned.
One such packet, containing about eighty of the cheaper class of flowers, is bestowed
under the performer's vest on the left side. The other packet should have a little addition, in the
shape of a bit of thin wire, passed through the rubber ring, and formed into a loop large enough to
admit the thumb. This second packet is placed just inside the front of the vest, also on the left
side, the wire loop being nearest the opening, and so placed that the performer can find it
instantly by feel, without using the eyes to look for it.
The method of introduction into the paper cone is as follows: The remark which the
performer professes to overhear, to the effect that he has put something into the bag, is
imaginary, but has the effect of creating an opportunity for his really doing so a few moments
later. He first shows the left hand, empty. He then calls attention to the inside of the bag, held in
the right hand. While all eyes are drawn in that direction, he secures in the left hand, and palms,
the packet from under the vest. As he now wants to show the right hand empty, it is but natural
for him to take the bag in the left hand, and this he does by grasping it at the mouth, with the
fingers inside. When the lady has "breathed" as requested, he re-transfers the bag to the right
hand, which grasps it by the opposite end. In making the transfer, he makes a half-turn to the
right (the bag in this position screening the fingers of the left hand), and under cover of this
double movement lets the packet of flowers slide down to the bottom. In picking out the first two
or three specimens, he so arranges the packet within the bag that the right hand, grasping it
outside, shall be able to exert a pressure on the outer edges of the cardboard discs, at opposite
ends of the rubber band. This forces the discs apart in the centre, releasing the flowers, and
causing them to well out into the bag, as described.
The second "load" is introduced in the act of forming the bag for the second time. While
holding the paper outspread before him with both hands, the performer introduces the right
*
Compare More Magic, p. 390.
45 KING KOKO

thumb within the wire loop, draws out the packet, and forms the paper into a cone around it. This
will present no difficulty after a little practice. From this point the production of the flowers runs
upon the same lines as that of the first packet.
The object of pasting flowers on each side of the two cardboard discs is, as the reader will
doubtless have surmised, that they may, if accidentally caught sight of among the flowers after
production, appear to be themselves merely flowers like the rest, and so excite no suspicion as to
their real purpose.
 KING KOKO 46

9. Reducing a Handkerchief to Lilliputian Dimensions.

The successive diminutions in size of the borrowed handkerchief are
effected by the dexterous use of a little appliance known to conjurers as a
"handkerchief-vanisher." Of this there are many forms. One of the most
suitable for the present purpose is as illustrated in Fig. 16. It consists of a
tube of brass or thin copper, tapering to a point at one end. It is divided
vertically into two compartments, one a little larger than the other, and is
japanned, externally, black. In length it may be two and a half, and in
diameter one and a half, inches. At the apex of its closed end is a small
Figure 16
hole, through which is passed a six-inch length of black silk cord, secured
on the inside by a knot. The opposite end of this cord is secured to a piece of elastic, passing up
the left sleeve. This, again, is attached to the outside of the vest (by means of a loop sewn on for
that purpose) between the shoulders, and is of such a length that, when the arm hangs down by
the side, the tube shall rest within the sleeve, about four inches above the wrist.* For the purpose
of the trick I am describing, the smaller compartment of the tube is "loaded" with a white
handkerchief of fine texture and about nine inches square, to one corner of which is attached a
still smaller handkerchief, three inches square. This latter is folded accordion-fashion, in three
pleats one way, and then three pleats the other way, so as to be, when folded, only one inch
square. The means of attachment is a bit of very fine white thread passed with a needle through
all the folds, and tied end to end, so as to hold them closely together till the thread is broken.
To show the trick, the performer, while exhibiting the borrowed handkerchief hanging
down by one corner from his right hand, lets the left hand rest for a moment on his hip. This, by
shortening the arm, allows the vanisher to sink down into the left hand, which secures it. The
hands are then brought together, and the performer, under pretence of merely rubbing the
handkerchief between them, works it gradually into the empty compartment, at the same time
bringing into view the nine-inch handkerchief from the other compartment. When the one is
fairly in, and the other fairly out, he straightens the arms with a forward thrust, simultaneously
relaxing his hold on the vanisher, which forthwith flies up the sleeve. His next step is to spread
out the nine-inch handkerchief, keeping the still smaller one on the rear side of it. He then breaks
the thread, packs the nine-inch handkerchief into as small a compass as possible, and shows in its
place the three-inch handkerchief, duly spread out; this forming, with proper care, an ample
cover for the larger one, which is, a little later, dropped into a pocket, or behind some article on
the table.
There is no real difficulty about the necessary manipulation, but it needs some practice to
perform it neatly. In good hands the illusion is perfect. In those of a " duffer," the less said about
it the better.
The three-inch handkerchief may, a little later, be again exchanged, after a similar
fashion, for the borrowed one, which, with a view to such reproduction, should not be packed too
tightly into the tube. When it has been reproduced, the performer may, if he pleases, proceed, in
accordance with the patter, to make it (apparently) larger. This is done by taking it by two
diagonally opposite corners, twisting it rope-wise, and, with much appearance of muscular effort,
stretching it longitudinally.
The illusion depends upon two points. First, that the diagonal of a square fabric is
considerably longer than either of its sides, though in an outspread condition this is not noticed.
Secondly, that the performer, at the outset of the trick, in twisting the handkerchief as above,
*
As to other suitable forms of the apparatus, see More Magic, p. 220, and Later Magic, p. 242.
47 KING KOKO

manages (while still leaving the extreme corners visible) to secure a certain amount of "slack,"
which, in course of the stretching process, he bit by bit releases.
The performer should not return the handkerchief in the "stretched" condition, but
(professedly out of consideration for the feelings of its owner) again reduce" it by a little make-
believe compression; then opening it out square, as at first.
 KING KOKO 48

10. The Magic Travelling Trunk, shown Empty, then Full.

Figure 17
Figure 18

Figure 19

Figure 20
The piece of apparatus which here figures as a travelling trunk, is familiarly known to conjurers
as a "drawer-box." Its special quality is that, though actually full, it may be made to appear
empty. It is thus available for the magical production, or reproduction, of any article which it is
large enough to contain. There are few conjuring appliances which have a wider range of utility,
though of late years the prevailing fashion of working with a minimum of visible apparatus has
caused the drawer-box to be somewhat neglected.
It consists of a drawer working in an outer case (usually of polished walnut or mahogany)
just large enough to contain it (Fig. I7). Its dimensions vary according to the size of the articles
which it is intended to accommodate, which may range from a live rabbit down to a playing-card.
The drawer (Fig. 18) is in two parts, the one working inside the other. The inner one is a
complete drawer, save that it has no knob in front. The outer one is a mere "shell," so to speak,
having front, sides, and bottom, but no inner end. When this is pulled out, it naturally brings with
it the inner portion also; the two appearing as one, and disclosing the contents of the latter. The
performer can, however, by pressing a stud underneath the outer case, hold back the inner
drawer, in which case the "shell" comes out alone, and the apparatus appears to be empty, though
the inner drawer may be actually full. The shell drawer cannot be drawn completely out of the
case, as its lack of an inner end would thereby be disclosed; but the drawer is shown empty by
turning the whole apparatus on its side towards the audience.
To prepare the drawer-box for the trick in hand, the performer first "loads" the bottom of
the genuine drawer with one or more paper "coils." These, which are not unlike the coils used for
the telegraphic "tape" machine, may be had in different sizes, ranging in diameter from three
49 KING KOKO

inches upwards, and in a variety of colours. Two or more of these, according to size, are packed
into the bottom of the inner drawer, so tightly that it can be turned upside down without their
falling out; and so, apparently, proved empty. Upon these may be laid small tablets of chocolate,
bon-bons, etc., for distribution, all closely packed, and on these, again, a few articles of doll's
under-linen, suitable to a doll of, say, ten inches in height.
The last-mentioned articles are first produced from the drawer, and the bonbons
distributed among the juveniles. The drawer is then (apparently) proved empty by turning it
upside down (taking due precaution against allowing the spectators to see the inside), after which
it is replaced in the case, closed, and again opened. The performer then, getting hold of the inner
end of one of the coils, begins to draw it out, professedly as one of the Princess's ribbons. After
the first two or three yards have been produced, he inserts the end of his wand in one of the loops
thereby formed, and draws the paper out by moving the wand rapidly round and round in vertical
circles. One or two coils so developed make a tremendous show of paper; so much so, indeed,
that it seems, to the uninitiated, incredible that such a quantity could ever have been contained in
the drawer.
There is a variety of the drawer-box, as illustrated in Figs. 19 and 20, known as the
"dissecting" drawer-box. In this form of the apparatus the top, sides, and bottom of the outer case
are hinged to the hinder end, and may be opened out, as shown in Fig. 20, after the drawer is
completely emptied, to prove that there is no possible place for the further concealment of any
article. And yet, when the case is put together again, and the drawer reinserted, it is found to be
again filled, say, with picture-postcards, as indicated in the story.
The secret here lies in the fact that the upper part of the case is not flat, but shaped like
the lid of a sarcophagus, and hollow. It is closed on the under side by a thin wooden panel,
which, if the drawer be pushed smartly home after a particular fashion, is released, and drops into
the drawer (the bottom of which it just covers) with all that may have been packed above it.
 KING KOKO 50

11. Calling Cards from the Pack.

This is a simplified version of a trick familiar to conjurers under the name of "the rising cards." It
is worked after various fashions, some of them rather complicated. In the present case the
procedure is very simple. The only requirements are a pack of cards, a tumbler (with
perpendicular sides) large enough to contain them in an upright position, and about a yard and a
half of fine black thread. To prepare for the trick, a notch, a quarter of an inch deep, is made
midway in one end of any indifferent card. A knot is formed on one end of the thread, which is
then forced down into the notch; the knot (drawn close up to it) resting against the face of the
card. The card thus prepared is placed, notch up-wards, in the middle of the pack, the thread
passing over the upper ends of the cards which may be behind it. The two cards destined
subsequently to appear are then forced down into the hinder half of the pack, in such manner as
to carry down with them a portion of the slack of the thread. The knave is first inserted, and then,
a little farther back, the queen. The effect of this arrangement is that if the pack be held in an
upright position, and the thread pulled, the two cards will be forced upwards, first the queen
(being the hindermost), and then the knave.
The necessary support for the pack is obtained by placing it, as described, in a tumbler
(preferably one with a foot), wherein it of necessity stands upright. It only remains to discover a
way to pull the thread unperceived and unsuspected by the spectators.
There are many ways of effecting this object. In the present case, the following will be
found as good as any. Into the hinder edge of the table-top, just behind the position of the glass
when in use, fix a tiny brass or iron screw-eye. Lay the pack, prepared as above, face down on the
table near the glass, and pass the thread through the screw-eye. To its free end attach a little ring
of blackened wire, the smaller the better. Lay this on the hinder corner of the table, at the side at
which you pro-pose to stand when working the trick, and arrange the slack of the thread in a
zigzag between this and the glass, in such manner that it cannot be fouled by anything upon the
table. The only other requirement will be to have sewn to the seam of your trouser-leg, on the
side which in working will be nearest to the table, and at the level of the finger-tips when the arm
hangs straight down, a lady's dress-hook, with the opening upwards. This also should be black,
and of the smallest size procurable.
At the appropriate moment, the performer, standing, we will suppose, at the right-hand
side of the table (as viewed by the spectators), steps up to it, and with the left hand picks up the
pack of cards, and drops it (thread end uppermost) into the glass. This should be done
deliberately and daintily, the pack being picked up with finger and thumb only, as if to emphasize
the fact that there is "no deception" in the matter. Meanwhile, the right hand picks up the little
ring, and slips it over the hook. The performer now steps aside to the full length of the thread.
The hands should be elevated and held apart at arm's length, as a sort of tacit proof that they take
no part in causing the effect which follows. The magic wand, held in the right hand, is then
waved over the glass, the performer at the same moment slowly making a half turn, so as to bring
his left side forward, and his right to the rear. This movement produces the necessary "pull" upon
the thread, and causes the two cards to rise in succession. An alternative plan is, after waving the
wand above the glass as above described, to let the arm fall to the side, when the pressure of the
wand upon the thread produces the necessary pull.
The two cards having appeared, the performer, while delivering the bit of "patter" as to
"how it's done," lifts the ring off the little hook, and lets it fall, with the thread, on the floor. He
then steps up to the table, and, grasping the glass with the left hand, takes out the pack with the
right; in so doing freeing the knotted end of the thread from the notch in the card. This operation,
by the way, may be facilitated by forming the knot round a tiny black bead; this being more
51 KING KOKO

readily scraped out with the finger-nail than the knot only. The glass and cards are then handed
for examination, but, of course, tell no tales.
 KING KOKO 52

12. A Card made to pass from one Place to Another.

Figure 21
Figure 22

Figure 23
This effect is purely mechanical, demanding from the story-teller practically nothing save the
possession of the two needful pieces of apparatus.
Of these, the first (Fig. 21) is a miniature table, of nickelled brass, standing usually three
or three and a half inches high. The table-top is circular, about four inches in diameter, and has
its outer edge turned down about a quarter of an inch all round. To this is adapted a second top,
of thin brass or tin, in appearance precisely similar, and fitting loosely over the first. A lid or
cover, so arranged as to fit tightly over the false top, completes the apparatus.
For the present purpose, the little table is prepared by laying a spare queen of hearts and
knave of hearts on the true table-top, and covering them with the false top. At the right moment,
the queen of hearts which has just risen from the pack is laid upon the false top, and the cover
over all. When this is again removed, it carries with it the false top, and the two cards lying on
the true top are revealed.
Of the second piece of apparatus, the "card-box," wherein the knave of hearts is placed,
and whence that card vanishes in order to rejoin the queen of hearts on the little table, there are
several varieties. The simplest (see Fig. 22) is a little flat box, of walnut or mahogany, just large
enough in point of length and breadth to contain a playing-card; say, four inches by three, and
one inch in depth. It consists of two equal sections, hinged together, and as both are polished all
over, either may in turn be regarded as box or lid, according as the one or the other happens to be
uppermost. With the box is used, unknown to the spectators, a thin slab of wood, a, fitting
loosely within it, and corresponding in grain and general appearance with its internal surface. The
box, it should be mentioned, is so hinged that it opens out flat, like a book.
To "vanish" the card, the performer opens the box out flat, as above mentioned, the loose
slab naturally remaining in the side which was previously undermost. He places the card, not in
this, but in the opposite side, and then closes the box by turning over the side holding the slab,
which is thus brought uppermost. The slab naturally falls into the new lower side, and when the
53 KING KOKO

box is again opened, the card has vanished, being covered by the slab. The same effect may, if
preferred, be produced by laying the card upon the slab, folding down the unoccupied side upon
it, and turning the box over afterwards.
A more elaborate form of "card-box" is shown in section in Fig. 23. The moveable flap is
in this case not detached, but is pivoted against the hinder corners of the bottom. The tension of a
spring causes it to lie normally against the back of the box; but it may be folded down flat on the
bottom, and secured in that position by a little catch. The act of closing the box, however,
withdraws the catch; whereupon the flap flies up again to a perpendicular position, concealing
between itself and the back any card previously laid upon it.
 KING KOKO 54

13. The Rising Ball.

This is a very ingenious piece of apparatus, and its performance is
extremely puzzling to the uninitiated, though, as a test of character, it is
perhaps scarcely to be implicitly relied on. An examination of the
accompanying sectional diagram (Fig. 24) will afford a clue to its
secret.
It will be observed that the cord which, to outward appearance, passes
straight through the ball, does not actually do so, being, in fact, two
independent cords. The ball, which is about four inches in diameter,
contains a double pulley-wheel, working on an axis at right angles to
the course of the cord. Each wheel has a deep flange, but the periphery
Figure 24
of the one is more than double that of the other. The cord passing out at
the top is coiled on the smaller wheel, to which its inner end is secured. The cord which passes
out at the bottom is in like manner attached to, and coiled round, the larger wheel. If the upper
cord be held in the hand, and the lower one left slack, the ball runs down, unwinding the cord
from the smaller, and coiling it on the larger wheel. But if, with the ball in the same position, a
pull is simultaneously applied to both cords, the result is different. The one cord being coiled on
a small wheel, and the other on a large one, the latter, from its greater leverage, gets the mastery.
The cord on the large wheel is unwound, thereby winding up the cord on the small wheel. The
upper cord being thus shortened, the ball is compelled to rise.
There are tassels, of slightly different pattern, at the opposite ends of the cord. This little
distinction, though not marked enough to be noticed by outsiders, enables the performer to make
sure of having the ball right side uppermost. The best way of exhibiting it is to hold the upper
cord in one hand, and then pull upon the lower with the other. If any sceptical spectator should
desire to try his skill, the ball is handed to him wrong side up, when he might pull till doomsday
without inducing it to rise.
55 KING KOKO

14. The Magic Mirror.

This trick rests upon a novel use of a piece of apparatus designed for a quite different purpose.
The apparatus in question is known as a "sand frame," and its ordinary function is to cause the
appearance of a playing-card or carte-de-visite under the glass, in place of the plain background
previously shown.
In size it is usually about six inches by four and a half, and in appearance like an empty
photograph frame; the space for the photo being filled up with what is taken to be rough grey or
brown paper. As a matter of fact, however, what is really seen is a thin layer of grey or brown
sand. The supposed "glass" is in reality two glasses; and the sand, when the frame is placed in a
certain position, lies between them. There is, however, a hollow space within what we will call,
for the sake of distinction, the upper end of the frame (both are exactly alike in appearance); and
if the frame be reversed, so as to bring this end undermost, the sand runs away into such space,
revealing a card or picture previously inserted behind the inner glass. There is an opening at the
back, closed by a small door, to allow of such insertion.
The frame is first shown with the sand between the two glasses, and therefore, to all
appearance, empty. After some appropriate "patter," it is placed, upright, with its back to the
company, or with its face covered with a handkerchief. In so placing it, the performer inverts it,
when the sand at once begins to trickle away into the secret cavity, and the card or other object
previously inserted under the double glass becomes visible.
For the purpose of the present trick, the performer writes, in a very rough way, on a piece
of grey or brown paper corresponding in tint with the sand used, the words "All wil be wel," and
inserts this behind the glass. The frame is in this case turned over in the hand, and the movement
of the fan masks the gradual disappearance of the sand. This is a more artistic method than
covering the frame, after the usual fashion, with a handkerchief.
Should this particular item not be included in the programme, the sand frame may (if
preferred) be utilized in place of the slate for the purpose of the concluding trick.
 KING KOKO 56

15. Proving that Six and Five are Thirteen.

This, again, is an effect produced by purely mechanical means. One of the plates used is a
"faked" article, having a double bottom, and between the two surfaces a flat tube, closed at one
end, and just wide and deep enough to admit a shilling. Two such coins are placed beforehand in
this tube.
The six coins are counted out on the plate, which a spectator is then asked to hold in front
of him with both hands, the performer taking care so to hand it to him that the opening of the
tube shall be at the point farthest from his (the assistant's) body.
At the appropriate moment, he is brought face to face with the holder of the second plate,
and is asked to pour the six coins upon it. He naturally does so by tilting the plate in a forward
direction, when the concealed coins slip out of the tube, and join company with the remainder.
57 KING KOKO

16. The Separated Sand.

There are two methods of performing this trick. The first is to prepare the sand, each colour
separately, by heating it in a frying-pan over a fire, till it is hot enough to just "brown" a card
thrust into it, and then stirring well into it a small quantity of tallow or mutton suet. This must be
done so thoroughly that each grain participates in the water-proofing operation.
Sand so treated, unlike unprepared sand, has the quality of "binding." If pressed together,
it will form a solid mass which will remain under water for some little time without
disintegration, and may be taken out again still cohering, though a rubbing movement of the
fingers instantly reduces it to its original condition of dry sand, its appearance not being at all
altered by the treatment it has undergone. Sand thus prepared may be procured, ready for use, at
any good conjuring depot.
This is the clue to the trick. The two paper bags exhibited each contain, in addition to the
loose sand, a lump of prepared sand of the same colour. When about to show the trick, the
performer dips his hand into one of the bags, brings out a handful of the sand, and lets it run
down on to one of the plates. He takes a handful in like manner from the second bag, and pours it
on the other plate. The contents of both plates are then poured into the water, but these are
scarcely sufficient for his purpose. He therefore adds a few more handfuls from each bag, and in
course of so doing allows the two masses of prepared sand to slip down into the water, which he
stirs with his hand, so as to make it muddy, and prevent the lumps being seen at the bottom. At
the proper moment he dips his hand in, secures one of the lumps, and after giving it a gentle
squeeze to get rid of any water that may adhere to the outer surface, crumbles it over a plate, and
shows it dry.
The alternative and preferable method (the invention, I believe, of Mr. Charles Bertram)
is to wrap up a handful of unprepared sand, of each colour, in a piece of goldbeater's skin or
waterproof paper. The operator twists the top round once or twice, and ties it tightly with a piece
of thin twine. He then cuts off any superfluous material with a pair of scissors, and makes the
opening watertight with sealing-wax. This also serves, by its colour, to denote that of the sand
within. The appropriate packets are placed in the bags containing the loose sand of corresponding
colour, and the trick is from this point worked after the same fashion as already described. The
wrappers break under the pressure of the fingers; and when they have delivered up their contents
are returned, under pretext of rinsing the fingers, to the basin, where they sink to the bottom.
There is a more elaborate form of the trick, in which sand of several different colours is
used; the sand being dyed to the requisite tints. For the present purpose, ordinary silver sand and
brown sand will afford a sufficient contrast.
 KING KOKO 58

17. The Die which passes from one Place to Another.

Figure 25
Any reader who has ever dabbled in conjuring, even to the most limited extent, is pretty sure to
be familiar with the "die" trick in its ancient form; but, for the benefit of those less instructed, I
will briefly describe it.
The apparatus consists of three parts; a solid wooden die, usually painted black, with
white spots (as a in Fig. 25); a shell die, of tin or cardboard, passing over the solid one and
exactly like it, and a pasteboard cover, more or less ornamental in appearance, fitting easily over
the shell die. The relative proportions of the two latter items are so adjusted that if the outer case,
when passed over the shell, is lifted with pressure, it brings the shell with it; but if without
pressure, it comes away alone.
In working the trick, the performer first calls attention to the wooden die, handing it
carelessly for examination, that there may be no doubt of its solidity. Taking it back again, he
remarks, "And here I have a cover just fitting over it." As if merely suiting the action to the word,
he passes the cover, containing the shell die, over the solid one, and immediately lifts it off again,
leaving the shell die behind, and hands the cover for examination. The solid die and shell are
naturally taken to be the former only. Borrowing two hats, he remarks, "I am going to pass this
die, which, as you see, is pretty solid, through the crown of one hat into the other." At the words
"pretty solid," he drops die and shell together into one of the hats, the resulting "thud" serving as
an indirect proof of the solidity which he claims. He then takes out again, apparently the die just
dropped in, but in reality the shell only, keeping its open end away from view. Inverting the
second hat on the first, he places the shell, open side down, on the crown of the former, and
passes the cover over it. When he again lifts the cover, which he does with a little gentle
pressure, the shell is lifted within it, the two (as one) being shown empty and the wand rattled
within, while the solid die, ostensibly the one just seen, is found to have passed" into the hat.
The trick in the above form is one which every schoolboy knows, and which the mildest
of amateurs, even in an Eton jacket, would hardly venture to exhibit. But, in the improved shape
which I am about to describe, it is a really excellent trick, and will puzzle those who are
acquainted with the old method quite as much as those who know nothing whatever about it.
The solid die, a (Fig. 25), is identical with that of the old version, but instead of the
cubical "cover," a square pasteboard tube, c, fitting loosely over the die, and in length just double
that of one of its sides, is used. One end of this, the uppermost in use, has the edge slightly turned
in all round. The "shell" die is retained, but with a difference. The side opposite the open end is
not a fixture, but is attached, by means of a cloth hinge, to the side which in use is kept to the
rear; forming the "lid " to a sort of bottomless box, as b in the same figure. If it is picked up,
59 KING KOKO

within the cover, with the hinged edge to the rear, and the cover is then tilted back into a
horizontal position, the "lid" falls back, and lies flat along the hinder side of the cover, which in
such condition may be seen right through, proving, apparently, to the most sceptical person, that
it is absolutely empty.
With the aid of this ingenious piece of apparatus, the required proof that the die is in two
places at the same time becomes a comparatively easy matter. The cover is first shown, the
"shell," with "lid" closed, being at that stage on the solid die. The cover is then passed over the
die, as if merely to show what it is meant for, and lifted off again with the shell within it, the
solid die being then in turn handed for inspection.
The trick is now practically done. The solid die is placed under the hat representing the
royal crown. The cover, first shown horizontally, "end on" to the spectators, and further proved
empty by passing the wand in at one end and out at the other, is then placed upright on the table.
The "lid" of the shell naturally falls; and when the cover is again lifted, without pressure, the
shell (to all appearance the solid die) is exposed to view. The performer, again covering it and
lifting the hat, shows that he has fulfilled his undertaking. The die was clearly in two places at
the same time. Having done this, he reveals (professedly) "how it was done" by again lifting the
cover (with a little pressure and a backward tilt), and showing that the die has made its escape
from it.
 KING KOKO 60

18. The Rainbow Water.

The requirements for this feat are a carafe of water, duly prepared, six
wine-glasses on a tray, and a small glass funnel.
To prepare the carafe, the performer must provide himself with aniline
dyes (in powder) of six different colours; say, crimson, blue, violet,
orange, scarlet, and green. Mixing glycerine and water in equal
proportions, he moistens therewith a minute quantity of each of the
colours, rubbing it down to the consistency of cream.
We will regard the glasses as being numbered, according to their
order on the tray, 1, 2, 3, 4, 5, and 6. Of these, Nos. 1, 5, and 6 are left
unprepared, but the other three each have at bottom a little dab of one of
Figure 26 the pigments, crimson in No. 2, blue in No. 3, and violet in No. 4.
Similar little dabs are applied to the lip of the carafe (see Fig. 26), orange at the point a, scarlet at
b, and green at c. The opposite side, d, of the lip is left open.
With this preliminary explanation, the working of the trick will present little difficulty. In
filling glasses 1, 2, 3, 4 (as also in the preceding tricks if the same water is used for them), the
performer takes care so to hold the carafe that the water shall pass out over the unprepared side,
d, of the neck. The natural result is that the water in glass No. 1 remains clear, while that in Nos.
2, 3, and 4, dissolving the pigment therein, becomes crimson, blue, and violet respectively. After
pouring back the water in glass No. 1 (which he does by means of the funnel), he fills the same
glass again, but this time pours the water out over the point a, thus producing orange colour. By
pouring out over b and c respectively, he produces scarlet and green in the two remaining glasses.
The addition of a little whisky or rectified spirit to the water, in the proportion of about
one part in eight, is recommended as tending to make the colours dissolve more quickly.
61 KING KOKO

19-20. The Mysterious Addition.

This trick is really two tricks in one, consisting of (1) the discovery of the total of the three
numbers, and (2) the production of such total, in a magical way, upon the slate. It will be
convenient to discuss them separately.
It is humiliating to have to confess it, but the performer, even with the assistance of any
number of fairy godmothers, is wholly unable to discover the total of the three numbers written
down by the three spectators. What he actually does is to disclose the total of three numbers
previously written down by himself. Each such number, of three figures, is written in pencil on a
card, the size of a gentleman's visiting-card, in a different style; say, one bold and heavy, one
faint and scratchy, and the third in rather minute characters. We will suppose that the numbers
decided upon are 730, 551; and 304, making, it will be observed, a total of 1585. Each card is
folded in half, and the three are placed in a small envelope, about an inch and a half square, such
as is frequently used , in shops to enclose the customer's " change." This the performer may place
on his table, or a side table; with a second envelope, of similar appearance, but empty, laid upon
the top of it. Close beside these should be laid three blank cards to correspond, and three pencils.
When he proposes to show the trick, the performer picks up with the left hand the pencils
and the three cards, and with the right the two envelopes (as one); the prepared one, which was
undermost, coming naturally next to the fingers. By means of a little manipulation, which the
novice will readily discover for himself upon experiment, the prepared envelope may be drawn
back so as to rest inside the hand, against the second joints of the second and third fingers, in
which position it is an easy matter to keep it concealed from the spectators.
The pencils and cards are distributed, and three numbers, each of three figures, duly
written. The cards, folded in half, are placed in the empty envelope. The performer then asks who
will represent the Grand Panjandrum, and add up the figures. While waiting for some one to
volunteer, he holds up the envelope just received between the fingers and thumbs of both hands,
in so doing getting the envelope containing the known numbers in front of the other, which is
then pushed by the left thumb into the right hand, in the position previously occupied by the
prepared one. The envelopes are thus "changed," and it is the numbers on the cards in the latter
which are really added up.
The second portion of the trick consists of the revelation of the sham total, by producing
it upon the apparently clean slate. There are many ways of doing this, and I must content myself
with describing two of them, one with a prepared, and one with an ordinary, slate.*
The "slate" used for this purpose is generally not made of slate at all, but of carbonized
mill-board, on which a slate-pencil writes with equal facility, and which is very much thinner and
lighter than slate itself. The use of this material excites no suspicion, inasmuch as what are
known as "memorandum" and "book" slates are habitually made of it. The trick slate in its
simplest form consists of a slab of this material; framed in the usual way, with a loose slab to
correspond lying over it within the frame, and so covering over any writing which may be upon
it. Both of the visible surfaces may be cleaned as freely as the performer pleases; after which, by
getting rid of the loose slab, he can expose the hidden writing.
The problem is how to do this without the knowledge of the spectators. To that end, the
inner surface of the loose slab is sometimes covered with the same material as that of the table-
cover, on which it may therefore be allowed to slip out, without attracting observation. Another

*
For further information on this subject, the reader is referred to an excellent little work by Mr. W. E. Robinson,
Spirit Slate Writing and Kindred Phenomena. London: Sampson Low, Marston & Co.; New York: Munn & Co.
 KING KOKO 62

plan is to have the inner surface covered with a piece cut from a newspaper, and to lay the slate
on a similar newspaper when showing the trick.
A neater method, and one which I should recommend for the present purpose, is to use a
"book" slate, with a loose slab, dropping from the one side into the other when the slate is closed,
after the fashion of the card-box described at p. 102. With a little care in manufacture, such a
slate may be so adjusted that it can be handed round among the audience after the disclosure of
the figures. To that end, each of the inner edges of the frame on each side is slightly chamfered,
but not to quite the same extent. In the one side (that on which the word or number to be
produced is written) the moveable slab should fit quite loosely. In the opposite side, on the other
hand, it should, when pressed home, fit tightly; so much so, that to get it out again, it must be
prised out with the point of a table-knife.
The working of the trick will now be pretty obvious. The total (in this case, 1585) is
written on what I may call the more open side of the slate, and the moveable slab inserted over it.
The performer cleans the visible surfaces. He then closes the "book" in such manner that the side
which held the loose slab shall be uppermost, and lays it on the table or floor. When he again
picks it up, and opens it, the loose slab has fallen into the opposite side, and the writing is
exposed. A quick downward pressure with the thumbs forces the loose slab home in its new
quarters, when the slate may be passed round for inspection, without any fear of its telling tales.
My own method of working the slate trick in a case of this kind is a good deal more
audacious, but by no means difficult, if the performer's nerve is to be relied on. I have a sort of
tailor's thimble (my own is of boxwood, but metal or celluloid would probably be the better
material), in the front portion of which (i.e. that covering the ball of the thumb) a little piece of
French chalk is set, like the stone of a ring. This rests, till needed, mouth upwards, in the right
vest-pocket, pushed well up against the inner corner, in which position it can be instantly secured
by dipping the tip of the thumb into the pocket. By then slightly bending the thumb, it is brought
inside the hand, and out of sight.
The trick is in this case worked with an ordinary school slate, of small size. After
cleaning this on both sides with a damp cloth, I take it upright in the left hand, and show one side
to the company; then transfer it to the opposite hand, which has meanwhile secured the
"thimble," and show the opposite side in like manner. While the slate is thus held, in an upright
position, by the fingers of the right hand, the thumb writes the desired figures on the hinder side;
the French chalk making no sound. The slate is then thrown down with this side downwards.
When it is in due course picked up again, the writing is revealed.
Whichever method of working be adopted, the performer will do well to take back the
three "faked" cards from the Grand Panjandrum at the first opportunity, as, if they got into wrong
hands, it might be discovered that the numbers on them were not those actually written by the
spectators.
63 KING KOKO

APPENDIX
LIST OF APPARATUS NECESSARY FOR THE PERFORMANCE OF THE
TRICKS ABOVE DESCRIBED.
1. The Flower to appear in the Buttonhole.-This may either be home-made, or
purchased at a conjuring depot, the price ranging from sixpence to a shilling.
2. The Self-supporting Wand.-A hollow wooden wand, specially adapted for the
purpose of this trick, but also available for general use, will cost from 2s. upwards, or,
complete with brass weight, from 3s. 6d.
3. Coin melted in Candle.-The only special requirement in this case is a bit of tinfoil
three or four inches square, crushed into a ball about five-eighths of an inch in diameter.
Any candlestick may be used but for the reason stated in the text, one with a slender stem is
preferable.
4. The Half-crown melted in a Glass of Water.-The champagne tumbler for this trick,
with glass disc complete, may be bought from nine-pence upwards, or the disc alone for
sixpence. The bottom of the tumbler, inside, should be as flat as possible, and the disc
should exactly fit it.
5. The Inverted Glass of Water.-A half-pint tumbler, with mica cover, for this trick, is
sold at 1s. 6d. A better plan, however, in this particular case, is to adapt a disc of thin mica
to the same glass which is used for the purpose of the preceding trick. A sheet of mica may
be trimmed to any shape desired with a pair of scissors.
A glass disc, with a rebate round the edge, so that it fits, to an infinitesimal extent,
inside the tumbler, is preferred by many performers. The apparatus in this shape costs 4s.
6. Sweets from Pocket-handkerchief.-The muslin bag for this trick may very well be
home-made. If purchased at a conjuring depot, its cost will be about 1s. 6d.
7. The Broken Fan restored.-The special fan used in this case may be purchased for
2s. 6d., or of more elegant pattern, and more highly finished, for 4s. 6d.
8. The Magical Production of Flowers.-The prices of the flowers used vary very
widely, according to material, finish, and size. Paper flowers, of fair quality, may be bought
from 4s. 6d. to 8s. per hundred. With surrounding leaves of silk, and of more artistic
character, they cost 10s. per hundred.
The paper used to form the bag is ordinary "cartridge."
9. The Reduced Pocket-handkerchief.-The particular form of "vanisher" described in
the text should be procurable for about 2s. Other forms range from 2s. 3d. to 4s. 6d.
The miniature handkerchiefs used in the trick (measuring nine inches and three
inches respectively) may be home-made. The material should be a very fine cambric.
10. The Magic Travelling Trunk.-The "drawer-box" (the technical name of the piece of
apparatus which in this case figures under the above title) is manufactured in many
different shapes and sizes, and with wide differences of material and finish. A drawer-box,
sufficiently large for use as described in the text, may be purchased from 5s., or even less,
to a guinea, at which latter price a large and handsome box, of polished walnut or
mahogany, can be obtained. If, however, the performer desires to exhibit the final and most
startling effect (taking the box apart, and yet making a further production from it) he must
use the form known as the "dissecting" drawer-box. This is a much more elaborate affair,
and costs usually a couple of guineas.
 KING KOKO 64

The coils of paper, which can only be procured at a conjuring depot, are priced
according to size. The smallest, which are three inches in diameter and half an inch thick,
cost twopence each, or 1s. 6d. per dozen. Coils 5-1/2 inches in diameter cost four-pence
each, or 3s. 6d. per dozen. Seven inch-coils, white, are 4s. per dozen; coloured, 7s. per
dozen.
The coils used should be of such a size as to fit, either laid singly or side by side,
tightly within the bottom of the drawer. If, as purchased, they are too large, they may be
reduced in size by winding off and removing a few yards from the outside. The doll's
clothing may be procured at any toy shop. Messrs. Hamley supply it at 3s. 6d. per set.
11. Calling Cards from the Pack.-The only requirements for the above trick are an
ordinary pack of cards, a piece of black silk thread, with ring (and hook fixed to receive it)
as described in the text, and a tumbler to contain the cards. To be suitable for its purpose,
the tumbler must have perpendicular sides, and be of such internal diameter as to
accommodate the cards comfortably, without binding. The trick is more effective if the
cards are made to rise from a glass with a foot. Handsome goblets, of heavy make, specially
adapted for this trick, are sold at 5s. each. Silk thread, 4d. per reel.
12. A Card made to pass from one Place to Another.-The little "card-table," made of
polished brass, costs 3s. Larger size, 4s. The "card-box," in the simpler form described at
page 102, costs, usually, 1s. 6d. In more elaborate forms, it ranges from 3s. to 15s.
13. The Rising Ball.-This ball costs, 1-1/2 inches in diameter, 5s. Larger sizes, for
stage use, 8s. 6d.
14. The Magic Mirror.-The "sand frame," which figures in the text under the above
title, may be purchased from 2s. upwards.
15. Proving that Six and Five are Thirteen.-The piece of apparatus here used may
either take the form of a metal tray, purchaseable from 1s. 6d. to 6s. 6d., or a china plate,
costing 2s. to 3s., according to size and pattern. The plate is, in my own opinion, to be
preferred.
16. The Separated Sand,-The preparation of the sand, for use in the method first
described, is rather a troublesome and disagreeable process. Readers who prefer to avoid it
may purchase coloured sand, loose, at 25. per quart; and blocks to match, for breaking up in
the hand, 3d. each. I am not aware that any price is quoted by the depots for sand done up
in waterproof packets, as described in the second method.
17. The Travelling Die.-The improved die described in the text may be had for 5s. A
larger size, suitable for stage use, costs 10s. 6d.
18. The Rainbow Water.-A sufficient supply of aniline dyes, in powder, for several
performances, may be purchased of any chemist or oilman for 6d. They are sold in glass
tubes at 1d. each.
19-20.-The Mysterious Addition and Slate-writing.-The main requirement in this case is
the trick slate. A single slate adapted for the purpose will cost about 2s., and a double or
book slate about 4s. 6d. The cards and square envelopes may be procured of any stationer
for a few pence.
The thumb-ring" used in the alternative form of the trick is not a stock piece of
apparatus; but I should think 2s. 6d. would be a reasonable price for it.

The figures above given, which should be regarded as approximate only, have been
obtained by comparison of the prices quoted by various dealers. Any reader desiring more
65 KING KOKO

precise information cannot do better than procure the illustrated catalogue of Messrs.
Hamley Brothers, 231, High Holborn, W.C. Messrs. Hamley are the largest London makers,
and their prices may be regarded as representing standard rates for apparatus of satisfactory
quality.

THE END

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