MISCELLANEOUS WATER TRICKS
The average beginner usually despises a very easy trick, simply because
it is easy. Maybe it is for that reason that one seldom hears of a young
amateur including the "Wine and Water" trick in his repertoire. I once
heard a young amateur state his objection to the trick.
"Oh, it's so obviously just a chemical experiment," he said.
He was wrong. If the trick is presented properly it will not be "just a
chemical experiment" but a very entertaining little bit of magic--simple
in its effect, and very short. The trick used to be in the repertoire of
Mr. David Devant, and other notable magicians have performed it in
public.
There are many ways of presenting the trick, but I do not think that
anyone has ever beaten Mr. Devant's method, which I give now with his
permission. The effect is so clear that the youngest child in the
audience can follow it.
Standing in a row on a tray on the table are four tumblers and a small
glass jug, with water in it. The conjurer picks up the jug in one hand,
a glass in another, pours out a little water and returns it to the jug.
Then he puts the glass down and pours a little water into each glass;
the glasses should be about half full. The audience are--or should
be--surprised to see that although the liquid in the first and third
glasses is undoubtedly water, the second and fourth glasses contain
wine, or ink, or stout, or whatever the conjurer is pleased to call it;
it is a black fluid.
The conjurer puts the jug down and, taking up the first and second
glasses, mixes the contents together, with the result that he gets one
glass full of "wine"; he pours this into the jug and all the water in
the jug is immediately turned into wine. The conjurer then mixes the
contents of the third and fourth glasses together, and he gets a glass
of clear water. Pouring this into the jug he causes all the "wine" in it
to change at once into clear water. Thus, at the finish of the trick the
conjurer returns to the point at which he started--with a jug of water
and four empty glasses.
The whole secret is in the "doctoring" of the four glasses. The
preparations must be made carefully, and when presenting it in a strange
place it is always necessary to try it out beforehand, because the
quantities of the chemicals used which are sufficient to work the trick
in one district may be quite wrong for the water of another district.
The glasses are prepared in this way. The first contains a teaspoonful
of a saturated solution of tannin; the second and fourth glasses contain
a few drops of a saturated solution of perchloride of iron, known to
some chemists as "steel drops"; the third glass contains a few drops of
a saturated solution of oxalic acid.
The object of pouring water into the first glass and tipping it back
into the jug is to mix the tannin with the water in the jug. Directly he
has done this the conjurer must be brisk in his movements, because after
the tannin has been put in the water soon becomes slightly cloudy.
The exact quantities of the chemicals required can only be determined by
experiment. Having settled that matter the conjurer has only to carry
out the instructions already given. The second and fourth glasses will
then have "wine" in them, and the first and third water. The contents of
the first and second mixed together will be "wine," and when poured into
the jug will cause the water left in the jug to change into "wine." The
oxalic acid in the third glass does the trick of taking all the colour
out of the contents of the fourth glass, and when he has poured that
into the jug the conjurer finishes, as he began, with a "jug of water."
The jug should be taken away at once, because the water will probably
become dull and clouded in the course of a few minutes. The "water," by
the way, is poisonous; to avoid any chance of an accident the conjurer
should pour it away at once, and should also see that the glasses and
jug are well washed.
If fairly large tumblers are used the steel drops can be "rinsed" round
the two tumblers (the second and fourth) just before the performance
begins, and those tumblers can then be placed upside down on a tray;
this position negatives the idea that there is anything in the tumblers
at the beginning of the trick.
The Vanishing Glass of Water
To cause a glass of water to vanish is hardly a complete trick, but it
may well form part of many magical experiments. Thus, if you are
presenting the "Rice Bowls" (see Chapter V) you can proceed with the
trick up to the point when the rice has been secretly removed and the
water is in readiness for the final effect. Leave the bowls as they are,
one inverted on the other, and show a silk hat to the audience, letting
them see inside it.
Now pick up a jug of water with your right hand and throw a large
handkerchief over your right arm. With the left hand take a tumbler from
the table, pour some water into it, and take it with the disengaged
fingers of the right hand, so that with your left hand you can take the
handkerchief from your right arm and throw it over the glass.
Directly you have done this, hold the glass, through the handkerchief,
with the left hand and put the jug down on the table. The right hand
drapes the handkerchief round the glass. Pause for a second, and then
flick the handkerchief into the air. The glass of water has vanished.
Go to the silk hat and take from it a glass full of rice. The glass is
apparently that which has just vanished and the rice is that which the
audience think is in the lower bowl. Then go to the bowls and "discover"
the missing water.
[Illustration:
{jug in one hand with glass of water in the other, then place jug on
table and drop glass, while covered with handkerchief, into jug}
_FIRST POSITION_
_Cloth or rubber bag_
_THE VANISH_
Fig. 13]
The disappearance of the glass of water is managed in this way. The
handkerchief is really made of two handkerchiefs sewn together; sewn
between them, in the centre, is a round piece of cardboard of the size
of the top of the glass. When you throw the handkerchief over the glass
you get the disc of cardboard exactly over the top of the glass. Take
the glass in the left hand and tap it once against the top of the
jug--just to let the audience be convinced that it is there. Then, as
you take it away, drop it into the jug, which has been provided with a
cloth or india-rubber bag for its reception. The bag is stiffened at the
top. Of course, the cardboard disc conveys the impression that the glass
is still under the handkerchief. The jug must be either a china or a
metal one.
If you wish to use the vanish of the glass of water in the way I have
suggested--in conjunction with the rice bowls--it will be necessary to
have an opera hat with a hinged flap in the centre. Cut a piece of stiff
cardboard of the size of the crown of the hat. To the centre of this
fasten, by means of strips of black linen, a small, semicircular piece
of cardboard, which will thus be hinged to the other piece. Cover the
whole of this "fake" with black silk and put it into the open hat. The
top of the hinged flap should be about half-way down the hat when the
flap is resting against one side of the hat. It is an easy matter to
hide a glass under the flap, and that glass is nearly filled with rice,
which is prevented from coming out by means of a little plug of paper.
By holding the fingers against the flap and the thumb on the brim of the
hat it is an easy matter to prevent the glass from falling out when you
casually hold the hat up for inspection by the audience. Keep the hat
moving, and the audience will not see the flap. Put the hat down,
letting the flap swing over to the other side of the hat. Then, when you
wish to produce the glass of rice all you have to do is to pull out the
plug of paper, leave it in the hat, and take out the glass. Pour the
rice out on to a tray and then produce the water from the bowl, and
pour it backwards and forwards from one bowl to another.
If you are using the metal bowls this vanish of the glass of water helps
to fill in the time occupied by the water running from the top bowl to
the one underneath it.
The Vanishing Water
Pour some water into a tumbler until it is about half full. Place a
short cardboard cylinder over the glass; when you lift the cylinder the
glass is empty, and the cylinder is held with one end facing the
audience; there is nothing inside it.
This is a very simple "vanish." The glass has a detachable lining of
transparent celluloid which will hold water. The presence of the lining
in the glass is not noticed. All that the conjurer has to do is to take
care not to put too much water into the "glass," because if he does he
may find a difficulty in lifting the lining out in the only way in which
it can be lifted out. The cover is placed over the glass. In removing
the cover the conjurer holds it with his thumb outside and his middle
finger, which should be moistened, inside. Two fingers pull up the
celluloid lining and hold it tightly against the cover, which, of
course, hides it for a moment while the conjurer picks up the glass and
shows that the water has vanished. While he does this he puts the cover
down on his table for a moment and lets the celluloid lining sink
gently down into a "well" in the table. A "well" is the conjurer's name
for a hole in the top of the table. The top of the table is covered with
black velvet, and the inside of the hole is lined with the same
material. If there is a pattern of gold braid on the top of the
table--though even this is not necessary if one is performing on a
stage--the hole cannot be seen by the audience, even if they are a few
feet away from the table.
[Illustration:
_GLASS WITH CELLULOID LINING_
_REMOVING LINING FROM GLASS._
Fig. 14]
The action of putting the cover down in a natural way, and not gingerly,
as though the conjurer was afraid of something inside it, must be
practised and, of course, the cover must be raised again at the earliest
possible moment and shown to be empty.
The mere vanishing of water in this way is not a complete trick in
itself; it should be combined with other tricks. The milk can,
explained later on in this chapter, will serve for the purpose of the
reproduction of the water, and if the conjurer will provide himself with
an extra celluloid lining, load it with three or four handkerchiefs and
place it behind a hat or some piece of apparatus on the table, he can
easily build up a little trick.
Having shown the milk can to be empty, he fills the glass, covers it,
and leaves it covered for a few moments while he shows some silk
handkerchiefs similar to those in the "fake." He "vanishes" these
handkerchiefs magically and shows his hands empty, or, if he prefers to
do so, he can have another prepared glass similar to the first and put
the handkerchiefs in that, so that he has a glass containing
handkerchiefs on one side of his table and a glass containing water on
the other, and the milk can in the centre. He lifts the cover from the
handkerchiefs and shows that they have disappeared; of course, the
"vanish" is managed in the same way, the celluloid lining of the glass
containing the handkerchiefs going down another "well" in the table.
Then the conjurer vanishes the water in the way described and having got
rid of the "fake," lifts the cover to show that it is empty and puts it
down over a similar fake (but containing handkerchiefs similar to those
which have been vanished). This fake can be standing behind an opera hat
on the table, and the conjurer should take away the hat as he puts the
cover down over the fake. He must not convey the impression that he is
trying to hide the cover behind the hat. He then replaces the cover over
the empty tumbler.
The position of things at this stage of the trick should be clear to the
audience. The milk can was shown to be empty; the conjurer has caused
some handkerchiefs and some water to vanish from two tumblers, one of
which is left uncovered. Going to the uncovered one the conjurer lifts
the cover and shows the handkerchiefs, and he can at once pour the water
from the milk can.
I do not suggest for a moment that that would be a particularly good
trick to do; I merely describe it in order to start you thinking of some
other article which might be added to the water and the handkerchiefs to
make a still more puzzling trick. A glance through any catalogue of
tricks will surely enable you to concoct a very fair trick on these
lines.
The Aquarius Tube
Now, here is a trick of a different kind, one which is quite complete in
itself. The inventor is unknown to me and I have not been able to
discover his name. In common with some other conjurers I have always
been under the impression that Mr. Claude Chandler invented this trick,
but he tells me that he is not the inventor and he does not know by whom
the trick was originated.
The effect is quite simple and not difficult to obtain. The conjurer
comes forward with a small piece of brown paper in his left hand. He
shows both sides of it, rolls it into a tube and pours water into the
tube. To the surprise of the audience the water remains in the tube. The
conjurer puts two fingers into the lower end of the tube and draws out a
quantity of coloured paper ribbons, perfectly dry; when all the ribbons
are on the table there is quite a little mound of them. The conjurer
afterwards unrolls the paper and throws it on one side, showing that it
is not prepared in any way for the trick.
That is the trick known as the Aquarius tube, but most conjurers would
naturally wish to extend it by producing flags from the paper ribbons,
and this would not be a difficult matter.
In order to do this trick a small metal tube, closed at both ends, with
a hole in one end is required. The tube is about the height of a pony
glass, with a slightly smaller diameter. When the trick was first
invented the tube was made in the form of an "unspillable" ink-well.
(See illustration A.) Thus, when the water was poured in (in a way which
I will describe presently) there was no risk that the water would run
out even if the tube was inverted. The tube in that form was "safe," but
a little too safe, because of the difficulty of emptying it after a
performance; it had to be shaken vigorously to clear it of water.
Mr. Harry Leat, therefore, improved the tube. (See illustration B.) It
will be seen that in the improved tube there is a short length of a very
small tube attached to the hole in the top of the tube, and in order to
facilitate the task of emptying the tube there is a hole at the other
end; this hole is closed during the performance of the trick by an
india-rubber plug. It will be noticed that in both tubes the base is not
flush with the lower edge, but is fastened about half an inch from the
edge. Thus, there is space at the bottom of the tube for a small coil of
paper ribbons. (The rubber plug comes in the centre of the coil.)
[Illustration:
_Sections of Water Fakes_
_Type B_
_Paper coil_
_Type A_
_External appearance_
Fig. 15]
If a small quantity of water is poured into this tube it can be inverted
without any fear of the water running out, but, of course, if too much
water is used and the tube is turned upside down a small quantity of
water is bound to escape. For myself, I see no object in turning the
tube upside down. After the conjurer has made a tube of paper and has
poured water into it and has shown that the water does not run out from
the other end, I do not see that he gains anything by turning the tube
upside down. (It will be understood, of course, that the metal tube is
secretly introduced into the paper tube. I am coming to that.)
Having poured the water into the tube the conjurer makes one or two
mystic passes over it and then pulls out the paper ribbons; directly
these have been well started they will uncoil and fall from the tube in
a heap on the table.
How does the conjurer manage to get rid of the "fake" containing the
water? By camouflage. The "fake" tube is painted to match the ribbons.
When the ribbons have been produced the conjurer holds up a handful near
the end of the tube and calls attention to their colours. He then lets
the tube slide down out of the paper tube behind the ribbons and puts
the lot on the table again. The "fake," being the same colour as the
ribbons, is not noticed. If the conjurer has two or three handkerchiefs
on the table to act as a pad he can let the tube fall down on the table,
but he must bring the end of the paper tube as near to the table as
possible when the metal "fake" is to fall, otherwise there will be an
audible "thud."
The "fake" is introduced into the paper tube in a very simple manner.
The piece of brown paper should be about fifteen inches square. The
conjurer holds this in his left hand with his fingers behind the paper
and thumb in front of it. Unknown to the audience the conjurer is
holding the "fake" behind the paper. In order to show both sides of the
paper the conjurer brings up the free end with his right hand until it
reaches the left thumb, which then takes it. At the same time he
releases the end which he has been holding with his left thumb and that
end naturally falls down. The audience have seen both sides of the
paper, but the "fake" is still behind the paper in the left hand. This
"move" is quite a natural one, and is very easy; if the conjurer will
try it in front of a mirror he will see that it is also deceptive.
The conjurer, using both hands, now rolls the paper round the tube and
finally holds the tube near the lower end in his left hand; it is as
well to extend the little finger under the paper tube to prevent the
"fake" from falling.
The water should be poured into the paper tube in a thin stream. The
quantity of water required must be ascertained by experiment. The
conjurer then makes a few mystic passes below and over the tube with his
right hand, puts two fingers into the lower end of the tube and starts
the ribbons; they will fall at once into a heap on the table. I should
mention that before loading the "fake" with the coil the outer ribbon on
the coil should be torn; if it is not the end of the falling ribbons
will be a ring of paper, which will look suspicious. The centre end of
the coil should also be pulled out half an inch, so that the conjurer
does not have to fumble to get hold of it.
If the conjurer wishes to produce flags at the end of the experiment he
can have them in a bundle in a "well" in the table, and then all he has
to do is to pick up some of the ribbons with his left hand, at the same
time getting his thumb into a wire loop round the bundle. Then he breaks
the thread tied round the bundle and carries on to the end of the trick.
Links
In this trick the conjurer fills a tumbler or goblet with water and
drops in a number of links from a chain. (A small brass curtain chain
which has been pulled to pieces answers well for the trick.) The
conjurer "fishes" into the tumbler with a long buttonhook and gets hold
of one of the links; all the others come with it, because the links are
joined together.
Here we make use of what is known as a "mirror" glass. A thick cut-glass
tumbler is divided in the centre by two pieces of looking-glass cemented
together. The glass is held in the left hand with one side of the mirror
facing the audience; hidden in the compartment behind the mirror is a
short length of chain. Having filled the glass with water the conjurer
puts it down on the table for a moment while he draws attention to the
separate links. He picks up the mirror-glass with his left hand and
drops in all the separate links into the front compartment of the
glass. (The water helps to disguise the presence of the mirror in the
glass.) Then the conjurer brings his right hand over to the glass, takes
it in that hand and immediately brings his hand right round to his
right. Thus he has turned the glass round without having apparently done
anything out of the ordinary; the audience see what they believe to be
the separate links in the glass. The conjurer then takes the glass with
his left hand, the fingers, being in front of the glass, help to hide
the mirror. Then--well, the rest is easy! Directly the chain has been
taken out the conjurer should put the glass down behind some piece of
apparatus on the table; the audience cannot be permitted to gaze at it
for any length of time.
[Illustration:
{glass of water, with mirror in centre and chain on one side,
then drop in separate links on other side, but pull out chain}
_FRONT_
_Mirror_
_Chain_ _FRONT_
_LINKS DROPPED IN_ _CHAIN PRODUCED_
Fig. 16]
The Milk Cans
You have seen the toy milk cans in a shop? By having two of these
"faked" in the way shown in the illustrations you can compose two or
three little tricks. I have already explained a trick in which one of
the cans can be used.
[Illustration:
{special can with angled partition so that when water is poured in it
won't come out unless turned around}
_Partition_
_SECTION OF CANS_
_EMPTY_
_WATER_
Fig. 17]
It will be seen that if water is placed in one of the cans and the can
is held with the faked side downwards the can can be shown to be empty,
because the water will not run out, but if the can is held with the
faked side uppermost the water can be poured out. Of course, the
audience cannot be permitted to have a very close view of the interiors
of the cans.
Here is one way of using two of these cans in a trick. Have one loaded
with water and the other empty. Show the audience that both are empty
and put them down on the opposite sides of your table. Pour water into
the can which really is empty and command it to pass to the other can.
You can then make the water travel invisibly back to the first can.
In the course of your "patter" you will probably not miss the chance of
talking about the milk cans and the other liquid which is sometimes
supposed to be put into milk--an old joke, but one which audiences
almost seem to expect.
Water from Waste Paper
For this trick you require two large aluminium drinking cups just alike.
One of them is filled with water and is then closed with an india-rubber
cap (procurable at any conjuring shop). Gummed on to this cap are little
bits of newspaper. The cup is then hidden in a box of pieces of
newspaper.
Come forward with the empty cup in your hands and fill it with the paper
by dipping it into the box. Add a handful of paper with the left hand
and then tip the lot back into the box. Repeat the movements. At the
third attempt leave the empty cup hidden in the box of waste paper and
get hold of the cup filled with water. Add a little more paper to the
top of this cup with the left hand and then remove one or two pieces;
this helps to convince the audience that the cup is really filled with
loose bits of paper. Close the lid of the box and stand the cup on it.
Cover the cup with a small thick silk handkerchief.
In removing the handkerchief you can easily "nip off" the rubber cover
with the thumb, and you leave it hidden in the handkerchief while you
pour the water out of the cup.
By having two boxes--or one larger one--the trick can be repeated, but
it would not be advisable to produce water from both cups. Let the
second production be a surprise. If you are performing to children you
can have no better production than sweets, which, of course, you give
away.
This trick is also performed with specially prepared cups with lids. The
cups in the boxes are closed with other lids (flush with the top), and
thus when they are brought up out of the boxes some loose paper is on
the top of each of the secret lids and the cups appear to be full of
paper. The "visible" lid is then put on to each cup, and when these lids
are removed they bring away with them the secret lids and the little
paper which was on the top of them. Then the real contents of the cups
are produced.
Cotton Wool to Water
For this trick I use an old piece of apparatus known to conjurers as the
"coffee vase," and I mention it here because my method of using it
differs from that usually employed.
The vase is a tall, straight one on a foot; it is usually made of
polished tin. There is a separate metal lining to this vase; this lining
is of the shape shown in the illustration. It will be seen that the
bottom of the lining does not come down to the bottom of the vase, and
that the outside part of the lining goes over the outside of the vase
and extends to the whole length of the vase. Therefore, it is impossible
to tell, from looking at the outside of the vase, whether the lining is
inside or whether the vase is what you say it is--an empty vase.
[Illustration:
_COVER_
_VASE_
_FAKE_
Fig. 18]
There is also a cardboard cover which fits over the vase, a little metal
cup, acting as a lid, which fits loosely into the top of the lining, and
a lid with a knob for a handle which fits closely into this secret cup
or lid. The secret lid has a little cotton wool placed on it.
This is the usual way of working the trick. The lining, with its
"secret" lid on the top of it, is placed inside the cover and stood
upon the table. The conjurer shows the vase, and as at the moment it is
free from preparation he can rattle his wand inside it and show that it
is really empty. He then fills it with cotton wool, taking care to put
in the wool in little pieces and not pressing it down. He then
"explains"--and I ask you to remember that this is not my way of
presenting the trick--that the original way of doing the trick was by
covering the vase with a cardboard cylinder. He puts on the cover and so
gets the lining into the vase. The lining, of course, has been
previously filled with coffee, or milk, or water, or some other liquid;
the bottom of the lining presses down the cotton wool in the vase into a
very small compass.
Now, when the conjurer removes the cover the audience see the pieces of
cotton wool at the top of the secret lid on the lining, and apparently
no change has been made. The conjurer goes on to explain that the modern
method of doing the trick consists in merely putting "this little lid"
on the cotton wool. (Cotton wool, is easily compressible, and there is
sufficient space between the bottom of the lining and the bottom of the
vase for all the cotton wool which was placed loosely in the vase.)
Naturally, when the conjurer takes off the lid he brings away inside it
the secret lid and the little pieces of cotton wool which were on that
lid, and he can pour out any liquid which was in the "lining" to the
vase.
Every trick has its weak point, and it seems to me that the weak point
of that version of the trick is found by the audience when they realise
that they are not permitted to see that the cover is empty before it is
placed over the vase. I admit that the appearance of the vase is not
altered in any way after the cover has been removed. The exterior is
just the same and the audience see the little pile of cotton wool at the
top. Still, I have never liked that method.
I dispense with the secret lid or cup to the lining and, therefore, with
the "visible" lid to it. At the commencement of the trick I have the
inner lining, nearly filled with water, in the vase, and the cover
empty. I begin by showing that the cover really is empty, and to show
that it fits over the vase I drop it over the vase and lift it off
again. I replace the cover and then, as a kind of afterthought, say: "I
never showed you the vase; of course, there is nothing in that." This
time, when taking off the cover I take off the inner lining by pinching
the cover tightly and leave it for a moment hidden in the cover. Then I
fill the vase with cotton wool and put on the cover. The audience have
seen the cover empty and they have seen the empty vase filled with
cotton wool. Of course, when I take off the cover I can at once pour out
the water.
It is advisable to have the cover made of tin. When you are putting a
cardboard cover with the metal lining inside it over the vase it is not
an easy matter to prevent the lining from knocking against the top of
the vase, and if you are performing at close quarters the audience may
hear the "chink" of metal against metal. You get over that difficulty by
having the cover made of tin.
If you want to raise a laugh easily at the close of this trick you can
pretend to overhear someone say that the water is not real water. You at
once pour some into a cup and throw it--apparently--over the heads of
the audience, but instead of a shower of water they get a shower of
confetti.
[Illustration: _Partition_
{special cup with partition, holding confetti on one side. water is
poured in other side but drains through hole into hollow saucer}
_Confetti_
_Hole in cup_
_Water_
_Hole in Saucer_
_Hollow Saucer_
Fig. 19]
This is managed by means of a "confetti cup," which is a metal teacup on
a saucer. The cup is divided by a partition in the centre and the front
compartment is filled with confetti. There is a hole in the bottom of
the other compartment and it is there that you pour the water. Where
does the water go to? Into the saucer, which is somewhat suspiciously
thick. There is a hole in the centre of the saucer and the hole in the
bottom of the cup goes exactly over the hole in the saucer. Thus, when
the water is poured into the cup it finds its way directly into the
saucer and the cup can at once be lifted up. The trick is more suitable
for a stage than for a drawing-room; even a little confetti makes a big
litter in a room. Still, some good-natured hostesses, if asked if they
would have any objection to a litter of confetti in a room, would be
sure to reply: "Not the slightest, do what you like as long as you amuse
the children."
Silk from Water
Most conjurers like to conclude a performance with a showy trick, one in
which they can produce a quantity of ribbons and flags, finishing up
with the production of a Union Jack--the bigger the better.
[Illustration:
{two cylinders, each with water in one portion and hidden flags in other}
_Hinged Flap_ _Rubber Cover_
_WATER_ _FLAGS ETC_ _FLAGS ETC_ _WATER_
_TYPE A._ _TYPE B._
Fig. 20]
Here is a trick of that kind. The conjurer begins by showing a large
metal cylinder closed at one end. He rattles his wand inside it and
then holds it with its end facing the audience. But he does not hold it
perfectly still. If he is performing in a room with the front rows of
his audience close to him the utmost he can do--in the way of showing
the interior of the cylinder--is to point it to the audience on his
right and then bring it round with a quick sweep to the audience on his
left. It is as well to have an assistant for this trick, but the
assistant must be "in the know"--the conjurer's very own assistant,
because he--or, better still, she--is asked to hold the cylinder with
both hands while the conjurer fills it with water, and the conjurer
cannot allow a member of the audience to undertake that task.
The water should be poured in from a height, so that the audience can
see that real water is used, and that it really does go into the
cylinder. The conjurer puts the jug down and peeps into the cylinder as
though he were expecting something to happen. Of course, the trick could
be brought to a conclusion at once, but you may well pause here for a
moment--just to "work up the excitement."
You dip your hand into the cylinder and take it out dripping with water.
"Just wet water," you say, "very wet." Dip your hand in again. "Still
wet." Repeat the action, but this time you remark that here is something
which is "quite dry," and you take out an American flag. The little joke
may, or may not be, discovered by the audience, but probably some of the
older members will see it. You then continue to produce a quantity of
flags and finally finish up with the Union Jack, which, of course, must
be larger than any of the other flags you have produced.
But the trick is not yet over, because as you produce the last flag your
assistant, knowing what to do, pours out the water from the cylinder.
This effect is produced in a simple manner. The cylinder is divided down
the centre into two compartments. The top of the partition does not come
up to the top of the cylinder because one compartment, filled with flags
before the commencement of the trick, is closed with a little
semi-circular lid, and as this lid has to be opened before the flags can
be produced it follows that if it were level with the top of the
cylinder it would be seen. The whole of the interior is painted a dull
black.
Care must be taken in pouring the water into the cylinder; if it is
poured on to the top of the lid there will be a visible splash above the
top of the cylinder, which would give the trick away.
Your assistant, having rehearsed the trick with you, knows just what you
are going to do, and, therefore, when you dip your hand into the
cylinder for the third time to get at the first flag she tilts the
cylinder slightly towards you and holds it in such a way that you can
lift the lid quickly.
Another cylinder for producing the same effect has the secret
compartment in the centre. The compartment is a round tube closed at the
mouth with an india-rubber cap. This cylinder usually has a foot to it,
and this makes it more convenient for the assistant to hold. Besides,
knowing that the secret compartment is in the centre the conjurer does
not have to be over careful as to the way in which he pours in the
water; as long as the spout of the jug is near the edge of the cylinder
he knows that he is safe. I used one of these cylinders at St. George's
Hall some years ago.
It is advisable to produce a flag in the first place, because you are
then able to get away with the india-rubber cover behind it; the cover
can easily be pulled away and hidden afterwards as you put the flag
down.
It is a good plan, after the production of the first flag, to take out a
number of compressible things. If you are performing to children they
will like nothing better than two or three bundles of carrots. These
imitation carrots are made with springs inside them, and they can be
packed in a very small compass. Imitation flowers, sausages, balls and
other things are also made in such a way that they can be packed in a
very small space, but when they are produced they expand to the usual
size. If you adopt this plan you apparently take out of the tube far
more than could possibly be put into it. These things can be followed
with a few "throw-outs," as they are called--little coils of bright
tissue paper ribbons; the conjurer gets hold of the end and throws the
coil away from him when the ribbons spread out, making a good display.
After these can come a large number of silk handkerchiefs of bright
colours, and finally the flags.
Care should be taken in displaying all these things after they are
produced. You lose half the effect of the trick if you merely dump them
down in an untidy heap. One flag can be hung on the assistant's arm,
another over a chair, and another in front of the table, and so on, the
object being to leave the audience with some kind of a "spectacle."
The one drawback to this very easy, but very effective trick is the
anti-climax produced by the water being poured out of the vase at the
end of the trick. You really want the end of the trick to be the
production of the big Union Jack, and yet if you do not have the water
poured out you lose some of the effect of the trick.
You can get over this difficulty by producing the Union Jack in another
way, and this will give you a little more room in the vase for other
flags. Let the last of these be a Union Jack of the same size as the
others and drape it with the others over the back of a chair. Then have
the water poured out of the vase and the audience will think that you
have come to the conclusion of the trick and will begin to applaud--or
it is to be hoped they will! Then take several of the flags from the
back of the chair and produce a large Union Jack on a flagstaff; this
makes an excellent finish to the trick.
The flagstaff is a telescopic one; the flag is pleated and rolled up,
and the staff is concealed in a little bag hung behind the chair over
which you drape the flags. To cause the staff to open, grasp the handle
tightly and "shoot" it out with its point towards the floor for a
moment; this is a very important point, because if you are performing in
a room you may, in the excitement of the moment, do someone a serious
injury if you merely "shoot" out the flag towards the audience. The
flagstaff should be of the kind known as "self-locking"; that is to say,
when every joint is out the staff can immediately be raised to a
vertical position without any fear that the staff will collapse; it will
remain rigid until you wish to close it. Wave the flag, allowing the
other flags to fall from your hands to the floor, and if you do not
finish your performance to loud applause the fault will not be yours.
=GAMAGES=
=Conjuring Tricks for the Discerning Magician=
* * * * *
Send for our Complete Conjuring Catalogue, beautifully illustrated, post
free on application.
=Multiplying Plate.=
[Illustration]
A number of coins are counted upon the plate by one of the audience and
poured into an empty hat, where they most mysteriously multiply. This
plate is the best and cheapest on the market. Complete with full
instructions. Larger size, 2/-, post 4d.; smaller size, 1/3, post 3d.
="Vest Pocket" Wine and Water Problem.=
A glass jug of water and four tumblers are used. Upon pouring water into
the first glass, it remains perfectly clear, but upon pouring water into
the second tumbler, it immediately changes to a rich wine colour, and so
on until you have two glasses of wine and two of water. The contents of
the first and second glasses when mixed produce all wine, while the
second and third mixed, produce clear water. Finally, on all the liquor
being returned to the jug, the result is clear water. The contents of
the glasses may be tested without injury. Price 1/2, post 2d.; large
size, price 2/-.
=The Mysterious Hammer, Box, & Ball.=
[Illustration]
Complete with full instructions. Price 2/9, post 3d.
The hammer is first given for examination and then the box with the ball
in it. The box is then closed, being empty, and the ball by a magic pass
is caused to appear in it. The performer now takes the hammer, and
holding his left hand under the table, knocks on the top of the ball,
which passes right through the table into the hand underneath it, and it
may all be again examined.
=The Magic Drawer Box.=
This wonderful Drawer Box will produce or vanish borrowed articles at
command of performer. Easy to manipulate. Complete with full
instructions. Price 1/6, post 3d.; larger sizes, 2/6, 3/6, 4/6, 6/6,
post 4d.
The Mysterious Coin Trick.
Coin produced and vanished as often as desired; simply wonderful, no
skill required, anyone can do it. Price 6d., post 2d.
=Gamage Cabinet of Card Tricks.=
Contains a number of first-class card tricks, the same as performed by
our famous professional magicians. We wish to point out that it is
absolutely impossible to obtain a more complete and surprising set of
up-to-date card tricks at the price. Complete with full instructions and
apparatus. Price 24/6; large size, 35/-.
=The Tambourine.=
[Illustration]
You pass round for examination two nickel-silver hoops and a sheet of
white paper. You then place the paper between the hoops. Now, holding
the impromptu Tambourine at arm's length you make a hole in the middle
with the forefinger, and from this hole you pull over sixty yards of
paper ribbon and again give the Tambourine to the company to find out
the trick if they can. Complete with full instructions. Price 4/9, post
4d.; large size, 6/6, post 4d.
=Diminishing Billiard Ball.=
The performer shows a full-sized billiard ball, but wishing for a
smaller one, passes his hand over it, when it is seen half the size; he
passes his hand over again, when it is seen much smaller. The ball
having been proved solid, is now invisibly passed away. Price, with full
instructions, 2/6, post 3d.
=The Havit Coin Trick.=
[Illustration]
Three pennies, after being covered with an empty and unprepared brass
cap, change into two pennies. A profitable trick. No practice required.
Price 1/3, post 2d.
=The Celebrated Hindoo Sand Trick.=
A quantity of sand is placed in water and stirred up, but when those in
the secret take a handful out it is found perfectly dry. Price 61/2d. per
box, post 2d.
=The Magician Monthly.=
All about magic, of interest to the Man who is a Conjurer, and the Man
who would like to be. Specimen Copy, post free, 71/2d.
Annual Subscription, 6/6.
* * * * *
=GAMAGES, HOLBORN, LONDON, E.C. 1=
=AMUSEMENT FOR THE HOME.=
=Price 1/6 net each.=
* * * * *
=Fun on the Billiard Table.=
A Collection of 75 Amusing Tricks and Games with Photographs and
Diagrams.
By "STANCLIFFE."
_Second Edition._ _Stiff Pictorial Wrapper._
"To say that no billiard room should be without this joyous and
ingenious little volume is nothing; there is no player, amateur or
professional, who would not get his money's worth out of
it."--_Sportsman._
=Practice Strokes at Billiards.=
For Tables of all sizes.
Examples from the actual match play of Roberts, Dawson, Stevenson,
Mitchell, Spiller, Peall, and other leading Professional Players, with
their methods of scoring therefrom. With 110 Diagrams illustrating the
various strokes.
New and Enlarged Edition.
_In Stiff Pictorial Wrapper._
"Anyone possessing a billiard table, or having the necessary 'oof' to
pay for private practice, can soon astonish his friends and erstwhile
conquering opponents by studying this book."--_Sporting Times._
=Plays and Displays for Boy Scouts.= _In Stiff Boards._
This volume contains six long plays, varying from thirty to sixty
minutes in performance, also several shorter plays occupying from five
to fifteen minutes, and a number of recitations suitable for Scout
Entertainments.
Instructions on How to Run a Scout Entertainment, The Art of Making-up
by Willie Clarkson, and How to make Scenery are also included.
_UNIFORM WITH ABOVE._
=Plays and Displays for Scout Entertainments.=
Second Series.
A new collection of PLAYS, RECITATIONS, and other items for BOY SCOUTS.
=How and What to Dance.=
By GEOFFREY D'EGVILLE.
The contents include:--The Etiquette of the Ball-room--Organizing a
Dance. Round Dances: The Waltz, Hesitation Waltz and
Boston--Polka--Gallop--Two Step, One Step--The Fox Trot--The Jazz
Step--Tango--Maxina--Valeta--Barn Dance--Canadian Three
Step--Schottische--Highland Schottische. Square Dances:
Lancers--Quadrilles--Waltz Cotillion--Caledonians--Parisian
Quadrille--Alberts. Country Dances. Morris Dancing. Maypole Dancing.
Etc.
* * * * *
=Price 2/- Each net.=
=Indoor Games for Children and Young People.=
Edited by E. M. BAKER.
_In Stiff Pictorial Paper Boards._
The contents include:--Indoor Games for a Wet Day--Games that can be
played alone--Sunday Games--Games for Christmas and Birthday
Parties--Home Stage Entertainments--Guessing Games--Table Games--Writing
and Letter Games--Round or Parlour Games--Artistic Productions--Home
Theatricals--Tableaux Vivants--The Art Exhibition--Forfeits, etc.
=Conjuring with Coins.=
Including Tricks by
NELSON DOWNS
and other well-known Conjurers.
Edited by NATHAN DEAN.
A splendid collection of Simple Tricks and many more advanced requiring
apparatus.
=Simple Conjuring Tricks that Anybody can Perform.=
By WILL GOLDSTON.
_Second Edition._
A splendid collection of Tricks with and without Apparatus, within the
scope of the beginner who wishes to amuse his friends at evening
parties, etc.
* * * * *
_The above Volumes may be had from all Booksellers and Railway
Bookstalls, or post free for 1s. 9d. or 2/4 each, from_
=C. ARTHUR PEARSON, Ltd., 17 Henrietta St., LONDON, W.C. 2.=
=AMUSEMENT FOR THE HOME.=
IN STIFF PICTORIAL WRAPPERS
=Price 2/- net each.=
* * * * *
=Card Tricks=
=Without Sleight of Hand or Apparatus.=
By L. WIDDOP.
A Volume which will give the Amateur or Semi-Professional, who does not
wish to spend a great deal of time in practice, material for
entertaining performances. Card Tricks presented in new forms and with
up-to-date patter.
=The Drawing Room Entertainer.=
A Practical Guide to the Art of Amateur and Semi-Professional
Entertaining.
By CECIL H. BULLIVANT.
The Contents include:--Ventriloquism--Conjuring--Popular
Entertainments--The Drawing Room Comedian--The Sketch Artist--A Shadow
Show--Variety Programmes--Method and Management--How Best to Secure
Engagements.
=Recitations for Children.=
By JENE BELFRAGE.
_Second Edition_
A charming Collection of Poems (chiefly _copyright_) specially selected
as being suitable for Young People, with instructions for Reciting.
=Plays for Amateur Actors.=
Containing Eleven Original Humorous Plays.
With Hints for Amateur Theatricals.
=Heard this One?=
The Newest Funny Stories collected and told by
CHARLES VIVIAN,
Editor of "The Novel Magazine."
=Card Games.=
By PETER ALSTON.
Including Bridge, Whist, Cribbage, and all the various games played
to-day.
=Magic Made Easy.=
By DAVID DEVANT.
A New Edition.
A splendid collection of Conjuring Tricks by one of our leading
magicians.
=Matchstick Magic.=
Puzzles, Games, and Conjuring Tricks with Matches.
By WILL BLYTH, M.I.M.C.
With a foreword by DAVID DEVANT.
=Ventriloquism= By Harold C. King;
and
=Juggling= By John E. T. Clark.
Two subjects of interest to the Amateur and Semi-Professional
Entertainer contained in one volume. Both are dealt with in a lucid and
interesting way.
=Handkerchief Magic.=
By WILL BLYTH,
_Author of "Paper Magic," "Matchstick Magic," &c._
Tricks and Amusement with a Pocket Handkerchief, with a foreword by
CLIVE MASKELYNE.
=Irish Reciter and Reader.=
Contains Selections from all the best writers of Ireland,
including--William Alexander, D.D. (Primate of Ireland), Katherine Tynan
Hinkson, Dora Sigerson Shorter, Alfred Percival Graves, W. H. Yeats,
Douglas Hyde, Lady Wilde, "Mr. Dooley," Lady Dufferin, Laurence Sterne,
Samuel Lover, and many others.
=Hand Shadows.=
The Complete Art of Shadowgraphy.
By LOUIS NIKOLA.
In Stiff Pictorial Wrapper, with numerous illustrations showing how the
Shadows are produced.
* * * * *
_These Handbooks may be obtained through your Bookseller, or will be
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