| Here we briefly touch on the props used in the performance of the routine. This |
| includes the close-up pad, the cards and the coins. |
| The working surface should be spongy so that when an edge of a coin is pressed the |
| other edge of the coin levers into the air. A perfect pad is one made of crushed velvet |
| that covers a sheet of sponge that is about an eight of an inch thick. Also, the surface |
| of the performing area should have some sort of fuzz or raised threads. On a perfectly |
| flat smooth surface a coin will not sink into the surface. Thus, a card on top of a coin |
| will be raised into the air so that the audience can see a gap under the card revealing the |
| height of the covered coin. If a surface like that of a bath towel or crushed velvet is |
| used, the coin sinks into the material. A card placed over the coin, then, does not rest |
| on top of the coin but rests on top of the fuzz or threads of the material that extend |
| above the coin. Then, a card without a coin under it and a card with a coin under it |
| There are those that must perform on a surface that does not allow the coin to sink into |
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