MISCELLANEOUS TRICKS
FLASH PAPER.--Having had occasion several times during the course of
the present work to make use of "flash paper," I will now describe the
manner in which it is prepared. It is not, however, practical to
manufacture it at home, as it can be obtained in large quantities at a
very small cost.
A mixture of nitric and sulphuric acids, one part of the former to two
of the latter, is made, and allowed to stand for twelve hours before
using. The experiment should be made in the open air. Ordinary tissue
paper is then immersed in the fluid for a few seconds, after which it
is taken out and washed well in clear water, until all trace of the
acid has been removed. This can be ascertained by the use of blue
litmus paper, which when dipped into the water will betray the presence
of the acid by turning red. The paper should then be dried in a warm
atmosphere, but not near a fire, and it is ready for use.
Flash handkerchiefs are prepared in a similar manner. For this purpose
take a piece of fine cambric, wash it well in hot water to remove all
grease and other impurities, and then treat it in the same way as the
paper.
A NEW FIRE FLASH.--This forms a very good opening trick. The performer
steps on the stage and, in what appears to be a careless manner, picks
up a piece of paper from the floor, rolls it up in his hands, and
throws it in the air, where it disappears in a flame, leaving no trace
behind.
To produce this effect you must obtain some very fine glass tubing
about the thickness of a darning needle, and having broken off several
pieces about an inch long, fill them with sulphuric acid. This can be
done with the aid of a long piece of india-rubber tubing, the acid
being drawn into the glass by suction. The ends of the tube are then
sealed hermetically in the flame of a spirit lamp. You must next
prepare a powder composed of equal parts of chlorate of potass and
powdered lump sugar. Wrap a very small quantity of this powder--about
as much as will lie on a penny--together with one of the acid tubes in
a piece of flash paper, and all is ready.
When rolling up the paper in the hands the tube is broken; the acid
escapes and fires the powder, which in turn sets fire to the paper and
produces the desired result.
CAUTION.--To prevent accidents never prepare the papers or even mix the
powder, until actually required for use.
CONJURER'S AMMUNITION.--The magic pistol described on p. 61 is usually
loaded with a small charge of powder. This is excellent for stage
purposes, but hardly suitable for the drawing-room, where some
objection might be taken to the employment of powder, even in a small
quantity. The pistol, however, need not be discarded, as it can still
be used in a manner that will in no way detract from the charm of the
trick. Load the pistol with a piece of flash paper, place a percussion
cap on the nipple, and pull the trigger. The paper will take fire and
be thrown from the pistol, vanishing in a sheet of flame at the
opposite end of the room.
Again, the pistol need not be loaded at all, but just as you are about
to fire you appear to understand that the ladies object, and
remark--"Oh! I see the ladies object to the report--well in that case I
will use the pistol as an air-gun." Saying this, you remove the conical
tube and blow through it to cause the supposed transmission.
SMOKE FROM TWO EMPTY PIPES.--Two empty and clean clay pipes are passed
round for examination and proved ostensibly to be unprepared. The bowls
are then placed one over the other, when the performer, by simply
inserting one of the stems in his mouth, commences to blow clouds of
smoke from the pipes.
The solution of the mystery is as follows:--A few drops of hydrochloric
acid (spirits of salts) are placed in one of the pipes, while the other
is similarly treated with ammonia. The union of the two chemicals
produces a thick vapor, which has all the appearance of smoke produced
from tobacco.
A good combination trick may be formed by preparing a glass tumbler and
the bottom of a tea plate, as above described; the plate is then placed
over the tumbler, the whole being covered with a handkerchief. The
smoke so mysteriously produced from the pipes may now be caused,
apparently by some occult means, to find its way into the closed
tumbler.
FIRE-EATING TRICK.--This, although a very startling trick, is quite
harmless, and can be performed by any one. Small balls of fire are
placed in the mouth and, apparently, swallowed, being immediately
afterward produced from the ears, or any part of the body that fancy
may suggest.
The balls are small pieces of camphor cut to shape, and are lighted in
the flame of a candle. They should be tossed from one hand to the
other, and finally into the mouth, which should forthwith be closed.
This, of course, extinguishes the balls, which should be secretly
removed at the earliest opportunity.
The reproduction of the balls of fire is managed with the aid of the
acid tubes mentioned on p. 160, which, together with a small quantity
of the powder, should be wrapped up in flash paper, and deposited about
the person as required. The best effect, however, is obtained by
producing them from behind the ears; it is also a very convenient
method, as the tubes are not so likely to be prematurely fractured.
EXPLODING SOAP-BUBBLES.--This is a novelty, and will be found to
produce a very good effect. The bubbles are blown in the usual way with
an ordinary clay pipe, the only preparation necessary being that the
bowl of the pipe must be filled with cotton-wool soaked in gasolene.
Bubbles blown with a pipe thus prepared will be found to explode in a
flame when approached with a light.
THE TUBE AND BALL.--This is a very ingenious trick, and well worth the
attention of the most fastidious performer. It can be used in several
ways.
The apparatus consists of a piece of one and one-half inch brass tubing
about seven inches long, with a cap of the same metal fitting loosely
over one end; also two billiard balls about the size of the diameter of
the tube. The audience, however, are not supposed to know of the
existence of more than one ball. (See Fig. 35.) The tube and cap,
together with the ball, are given for examination, attention being
drawn to the fact that the ball will readily pass through the tube.
After examination the tube is stood on one end on the table and covered
with the cap. The operator then takes the ball and vanishes it by means
of sleight of hand, when, on the tube being raised, it has to all
appearance been passed underneath.
[Illustration: Fig. 36.-Tube and Ball]
The secret lies in the fact that there is a very small dent in the side
of the tube at the centre; also that one of the balls--that given for
examination--is slightly smaller than the other. The small ball runs
freely through the tube, but the large one will not pass the centre on
account of the indentation.
On receiving back the tube the performer secretly drops the large ball
into it, which, owing to the force of the fall, is pinched in the
centre and will not fall out. In this condition the tube can be turned
about in all directions and will still appear empty. When placing it on
the table the performer is careful to bring it down rather smartly on
the end at which the ball was introduced, when, owing to the
concussion, the ball is released and falls on the table.
The tube can be used to cause the disappearance of a ball in the
following manner:--Place the ball on a tea plate and cover it with the
tube, which in turn cover with a second plate. By reversing the
position of the structure the ball falls into the tube, where it is
retained in the manner described, and after a little more twisting and
turning, to add to the general confusion, the plates are removed and
the ball is proved to have disappeared.
The ball can of course be reproduced if desired; or if two tubes are
used it may be, apparently, passed from one to the other. In this case,
however, it is suggested that round discs of wood be used in place of
the plates, as the latter would be likely to get fractured in the act
of bringing the tube down with sufficient force to dislodge the ball.
THE UBIQUITOUS THIMBLE.--This is one of the prettiest sleight of hand
tricks in existence, and requires very little practice. For the purpose
of the trick, in its entirety, the performer must be provided with two
thimbles exactly alike; but very many surprising passes can be made
with one thimble only. The idea of the trick proper is to cause a
thimble placed on the forefinger of the right hand to disappear and be
found on the corresponding finger of the left hand, without the hands
approaching each other. It is usual, however, in the first place, to
execute a number of passes with one thimble only, as by this means the
audience will be the less likely to suspect the introduction of the
second one. The main thing necessary is to acquire the knack of holding
a thimble in the fleshy portion of the hand at the root of the thumb,
in which position it can be placed, or removed at pleasure, by simply
bending the forefinger. (See Figs. 37 and 38.) This sleight must be
executed with equal facility with both hands.
[Illustration: Fig. 37.--Thimble Trick]
When about to present the trick the performer comes forward with a
thimble on the forefinger of the right hand, the second one being in
the left-hand trousers pocket. He now appears to place the thimble in
the left hand, but really, when the right hand is in motion toward the
left, it is palmed as described. The left hand is then brought down
with some force on the head and the thimble produced from the mouth on
the forefinger of the right hand. This can be done with perfect ease,
as, so long as the hand is kept in motion during the recovery of the
thimble, there is no fear of the movement being detected.
[Illustration: Fig. 38.--Thimble at Root of Thumb]
The thimble is then apparently placed in the mouth, really being palmed
as before, and afterward produced from the bottom of the vest. While
doing this the performer stands with the left hand in the trousers
pocket and palms the second thimble. Both hands are now held palms away
from the spectators, and kept in continual motion. Under cover of this
the right-hand thimble is palmed, and that in the left hand produced,
when it will appear to have been passed from one hand to the other.
This can be repeated as often as desired.
Finally the second thimble should be secretly disposed of, and the
trick brought to a conclusion with a pass performed with the one only.
An additional effect may be obtained by the use of two thimbles, one
fitting over the other. These should be made in thin metal so as to be,
in point of size, as near alike as possible. The two thimbles, which
appear as one only, are placed on the forefinger of the right hand, and
covered with a small paper cone, with the remark, "You see the cone
just fits the thimble; I will now show you a rather extraordinary
experiment with the same." The cone is then removed, with slight
pressure at the base, and placed on the table on the supposition that
it is empty, but it really contains the uppermost thimble. The one left
on the finger is then vanished, under cover of a throwing movement
toward the cone, which is then removed by the apex and the thimble
discovered.
While all attention is drawn to the table the duplicate thimble is
dropped into the profonde.
THE MYSTERIOUS TAMBOURINE.--It is generally understood that, should the
silk hat go out of fashion, conjurers would be at a loss for a suitable
article wherewith to work the numerous "production" tricks. Should such
a calamity ever befall the profession the mysterious tambourine will,
to some extent, come to the rescue.
The apparatus consists of two nickel-plated brass rings, eight inches
in diameter and one inch deep; the one fitting easily over the other.
(See Fig. 39.) The tambourine is constructed by placing a sheet of
paper between the two rings, and pressing the upper one down over the
lower, the edges of the paper being afterward trimmed round with
scissors. Thus prepared it is shown back and front.
[Illustration: Fig. 39.--Tambourine Trick]
The prestidigitateur then makes a small hole in the centre of the paper
with his wand, and immediately commences to twist out yard after yard
of colored paper ribbon, sufficient being obtained to fill a large
clothes basket. If the performer desires to add to the effect of the
trick the production of the ribbon may be preceded by that of a number
of handkerchiefs, also a quantity of spring flowers and other articles
of a like nature. Finally a rabbit or a large bird cage containing a
live bird may be produced from the pile of ribbon.
The explanation is very simple. The tambourine is put together at the
rear edge of the table, and when taking it up prior to trimming the
edges, the coil, which was on the servante or suspended at the back of
the table, is brought away under cover of the paper and pressed into
the ring. The back of the colored coil should be rubbed over with chalk
to match the white paper used in the construction of the tambourine,
which can then be shown back and front, but will still appear empty.
The flowers should be done up in three packets of twenty each and laid
on the coil, being covered with the handkerchiefs, which should be
folded up neatly. The packet is then tied together with thin cotton,
which can easily be broken when required.
The rabbit is in readiness in the profonde on the right side, and is
introduced into the ribbon when picking it up from the floor.
The cage, which should be a folding one, is suspended behind the back
of a chair, over which the ribbon would be thrown while performing a
simple trick with one of the handkerchiefs. In the act of taking the
ribbon from the chair opportunity would be found for introducing the
cage unobserved.
THE BRAN AND DOVE PLATES.--The trick about to be described, in its
primary form, consists of changing a quantity of bran or flour into a
live dove. It can, however, like the tambourine, be made available for
the production of various articles, and is especially suitable for the
magical distribution of bonbons, sweets, etc.
The performer comes forward with an ordinary soup plate filled to
overflowing with bran, a portion of which is scattered over the stage
to prove its genuineness. The bran is then covered with a second plate,
which on being removed reveals a live dove, the bran having entirely
disappeared.
The explanation is as follows:--One of the plates is fitted with a tin
lining, enamelled white on the inside to represent the china. (See Fig.
40.) The supposed bran is really this tin lining turned upside down
with bran gummed all over it; a handful of loose bran being thrown on
the top. It is hardly necessary to say that the dove is already in the
plate concealed by the bran shape.
The false heap of bran is now covered with the second plate, and while
talking the performer, in a careless way, turns the plates over several
times, finally placing them on the table in such a manner that the one
that was formerly uppermost shall now be at the bottom. All he has to
do now is to remove the uppermost plate and take out the dove. The
inside of the bottom plate should now be shown, when it will appear
perfectly empty.
[Illustration: Fig. 40.--Trick Plate]
In place of the dove the plate may be loaded with sweets and small
toys, for distribution; or with a list of articles similar to those
produced from the tambourine. If a coil of ribbon be used it should be
a colored one, with one side rubbed over with chalk so that the inside
of the plate may be shown prior to its production.
By using two pairs of these plates, and being provided with two doves
exactly alike, the bran in one may be made to, apparently, change
places with the dove in the other.
THE WANDERING STOUT.--The feat bearing this title consists of causing a
glass of stout to pass through the crown of a borrowed hat. Having
obtained the loan of two hats, the performer places them on the table
mouth to mouth, and stands the glass of stout on the crown of the
uppermost one, covering it with a paper cylinder of the same height as
itself. On removing the cylinder it is shown to be perfectly empty, the
glass being immediately taken from the lower hat.
For the performance of the trick the operator must be provided with a
glass three and one-fourth inches high by two and one-half inches in
diameter at the mouth, tapering very slightly toward the bottom. The
kind known as picnic glasses will be found the most suitable. In
addition to the glass and the paper cylinder a piece of glass tubing of
the same height as the tumbler, and large enough to pass easily over
the same, will also be required. This piece of tubing must be blackened
on the inside to within one inch of the top, and finished with a little
white paint to represent froth, when, thus prepared, it will readily
pass for a glass containing stout.
The paper cylinder, containing the sham glass, being on the table, the
performer comes forward with a bottle of stout and fills the tumbler.
He then takes up the cylinder and passes his wand right through it, as
if to prove that it has not undergone any preparation, after which he
places it over the glass of stout. He then puts the glass, still
covered with the cylinder, into one of the hats, with the remark "I
will now cause the tumbler to pass from one hat to the other," then, as
if struck with a sudden thought, changes his mind, saying, "No, perhaps
it would be more effective if I place the hats one over the other, and
pass the glass through the crown of the uppermost one." Saying this he,
apparently, takes the tumbler, still under cover of the cylinder, from
the hat, and places it in the required position. Really, however, the
stout was left behind, the cylinder and counterfeit glass alone being
removed.
Now, in order to satisfy the spectators that the stout is actually on
the crown of the hat, the performer lifts the cylinder and exposes the
sham glass, which every one believes to be the genuine article. The
cover is then replaced and the tumbler commanded to pass into the lower
hat, after which it is again raised, together with the counterfeit, and
the wand passed through it as before. The hats are then separated and
the glass is produced from the lower one.
A CRYSTAL WATER MYSTERY.--Chemical tricks, as a rule, do not meet with
much favor at the hands of professional conjurers. The reason is pretty
clear, as, in the majority of cases, the modus operandi is too
palpable. The one here described, however, owing to the number of
changes produced, is an exceptionally good one, and is to be found in
the repertoire of the leading performers of the day.
[Illustration: Fig. 41.--Water Trick]
Four empty glass tumblers, together with a glass jug full of water, are
arranged on a tray as shown in Fig. 41.
Water poured from the jug into--
No. 1, is seen to be clear.
No. 2, changes to stout.
No. 3, is seen to be clear.
No. 4, again changes to stout.
Nos. 1 and 2 mixed equal stout.
Nos. 3 and 4 mixed equal water.
Nos. 1 and 2 put back into the jug give all stout.
Nos. 3 and 4 put back into the jug give all water, as at first.
The explanation, although by no means obvious, is very simple. Glass
No. 1 is perfectly clean. No. 2 contains a small portion of pyrogallic
acid, about the size of a pea. No. 3 is prepared with half a
teaspoonful of sulphuric acid. No. 4 contains the same quantity of
pyrogallic acid as No. 2. The jug contains clear water, into which a
teaspoonful of sulphate of iron is dropped just before the trick is
commenced. The iron should not be placed in the water until actually
required for use, as the solution changes rapidly to a yellow color, in
which condition it would not very well pass for water. For the same
reason the jug should be removed immediately after the trick.
Some performers prefer to use the following chemicals in place of those
enumerated above. I will give them in the same order, and then the
magician may choose for himself. Glass No. 1, as before, is quite
clean; No. 2 contains a few drops of muriated tincture of iron; No. 3,
a teaspoonful of a saturated solution of oxalic acid; and No. 4 is
prepared in the same manner as No. 2. A teaspoonful of tannic acid
should be added to the water in the jug prior to the commencement of
the experiment.
I myself always use the sulphuric acid, as I believe it produces the
best result, but in the case of a spill it is very dangerous, and on
this account the latter method is to be preferred. The changes, in
either case, are quite instantaneous, hence the trick produces a most
extraordinary effect.
THE WIZARD'S BREAKFAST.--The magical production of steaming hot coffee
has always been a favorite trick with the juveniles, especially when
the beverage is handed round for their consumption, and various pieces
of apparatus have been designed for effecting this purpose. The most
up-to-date method, however, is the one hereafter described:
Two boxes, without lids, sizes about twelve inches by eight inches by
eight inches, usually fitting one within the other for convenience in
traveling, and containing respectively cuttings of blue and white
paper, are introduced to the audience. Two pint goblets, in metal, are
then filled, one with blue and the other with white paper from the
boxes, after which they are covered with small silk handkerchiefs. On
removing the handkerchiefs the blue and the white papers are found to
have been transformed respectively into hot coffee and hot milk. The
performer then pours a portion of each fluid into a breakfast cup, and
makes a motion as if throwing the whole over the audience, when nothing
falls but a shower of blue and white paper cuttings, every vestige of
the coffee and milk having disappeared.
[Illustration: Fig. 42.--Trick Tumbler]
There are in reality four goblets employed in the trick, two of which,
containing the fluids, are concealed in the boxes unknown to the
spectators. These two are provided with shallow trays fitting loosely
within them at the top, each tray being filled with paper of the
required color. (See Fig. 42.)
When presenting the trick the performer comes forward with the box
containing the white paper, and throwing a handful in the air, calls
out, "Out in the cold," which remark is perfectly justifiable, as the
paper gives a faithful representation of falling snow. Placing this box
on the table, and taking up that containing the blue paper, he scatters
a handful over the stage with the remark, "This is the same as the
white, only the wind blue it." He now takes one of the goblets from the
table and appears to fill it with white paper, but really, while in the
box, an exchange is made for the one containing the milk, which, owing
to the presence of the shallow tray, will appear to be full of paper.
This is then covered with a handkerchief, after which the second goblet
is treated in like manner.
The shallow trays have each a piece of wire projecting from their upper
edge to enable the performer to remove them under cover of the
handkerchiefs. The handkerchiefs are thrown in a careless manner over
the sides of the boxes, into which, if sufficient paper has been
provided, the trays may be allowed to fall.
[Illustration: Fig. 43.--Cup and Saucer]
The cup and saucer will next require our attention. These are of metal
in imitation of the genuine article, the saucer being made double, with
a small hole in the centre of its upper side, for a purpose that will
presently appear. The cup is provided with a perpendicular division
nearly in the centre, a small hole being drilled in the bottom of that
side next to the handle. (See Fig. 43.)
The front and larger side is filled with a mixture of blue and white
paper cuttings, and thus prepared, together with the saucer, it is
placed on the table. When pouring the coffee and milk into the cup the
performer takes care that it goes into the space provided with the
small hole, through which it immediately runs into the body of the
saucer.
It is usual to bring the trick to a conclusion by apparently throwing
the fluid over the audience as already described, but should the
performer be provided with a number of small cups and a tray, that
portion of the beverage not used may be handed round as refreshments.
THE HYDROSTATIC TUBE.--This is a trick of comparatively recent
invention. It requires very careful handling, and the performer must be
possessed of almost superhuman nerve to present it successfully to a
critical audience. It produces, however, a most extraordinary effect,
and on this account is to be recommended.
A piece of paper is placed at the bottom of a glass tube or chimney
used for gas, which is then filled with water, while the top of the
tube is covered with a second piece of paper. The right hand is then
placed on the top paper and the position of the tube reversed. The
papers are then, each in turn, removed, but the water does not fall
from the cylinder; on the contrary, it remains suspended without
visible means of support. The papers are now replaced, and the top one
is pierced with a hatpin, when, on the pin being withdrawn, the water
at once falls into a basin placed ready to receive it under the tube.
This surprising result is due entirely to a well-known natural law,
viz., the pressure of the atmosphere, and is nothing more nor less than
a modification of the old schoolboy trick of keeping a glass of water
inverted by means of a sheet of paper. The new arrangement will,
however, require special explanation.
Each end of the cylinder is fitted with a glass cap, grooved to fit
into and over it at the same time; this is necessary to avoid slipping.
The ends of the tube, also the edges of the caps, must be ground, so
that the point of juncture shall be air-tight. One of the caps has a
small hole drilled through the centre. (See Fig. 44.)
When about to present the trick the two glass caps are laid on the
bottoms of two upturned tumblers, where they are quite invisible. The
performer then draws attention to two square pieces of paper, which he
dips into the water contained in the bowl, afterward laying them down
on the glass tumblers, and over the glass discs. He next shows the
tube, passing his wand through it to prove that it has not undergone
any preparation. Then taking one of the papers, and at the same time
secretly securing one of the discs (not the one with the hole in it),
he places it at the bottom of the tube, which is forthwith stood on the
palm of the left hand. The tube is then filled with water and covered
with the remaining piece of paper and glass cap.
[Illustration: Fig. 44.--Hydrostatic Tube]
The position of the tube is then reversed, after which it is taken by
the centre and both papers are removed. The water will not run out from
the small hole in the bottom cap owing to the fact that no air can get
in at the top. The glass caps being absolutely invisible, the water
will now appear to be suspended in the tube without any natural means
of support.
The papers are again placed on the ends of the tube, where, being wet,
they readily adhere. The hands are now placed one on each end and the
tube is reversed; this is necessary to bring the cap with the hole in
it to the top. The top paper is then pierced with the hatpin, which,
passing through the hole in the cap, gives the impression that there
cannot be anything but the paper covering the ends of the tube. When
the pin is withdrawn the air rushes into the tube, and, as a natural
consequence, the paper and disc fall from the bottom, liberating the
water. The bowl should be half full of water when the cap falls, to
avoid fracture of the glass. The cap is then brought away from the top
of the tube under cover of the piece of paper, and both are dropped
into the bowl, when the tube can be once more given for examination.
THE HYDROSTATIC TUMBLER.--This trick, which is similar in principle to
that immediately preceding it, is preferred by some as being less
cumbersome; it is also easier to work and consequently entails less
anxiety on the part of the performer. The effect, however, although
pretty, is not quite so startling.
The necessary apparatus consists of a glass tumbler with a small hole
drilled in the side one inch from the bottom, the mouth of which must
be fitted with a glass cap in the same manner as the tube in the
preceding trick. (See Fig. 45.)
[Illustration: Fig. 45.--Hydrostatic Tumbler]
The performer having drawn attention to the tumbler, also a small piece
of paper, dips the latter into a bowl of water, and lays it down over
the glass cap. The tumbler, held with the thumb covering the small
hole, is then filled with water from the bowl, and covered with the
piece of paper under which, unknown to the audience, is the glass disc.
The glass is then inverted and the paper withdrawn, the water remaining
suspended without visible means of support. The tumbler can now be
turned about in any direction, without the least fear of the water
escaping, so long as the thumb is kept over the small hole in its side.
It can also be stood on the table, the hand being removed entirely; the
water cannot escape through the small hole owing to the presence of the
cap.
The tumbler is once more raised and inverted, when the performer
undertakes to cause the water to fall at any given number counted by
the audience. This last effect, which adds considerably to the trick,
is brought about by very simple means; all the performer has to do is
to remove the thumb covering the small hole, when the air rushes in and
causes the disc to fall. The bowl, as before, should be half full of
water, to provide a cushion for the falling disc, which under these
circumstances will not be injured, nor its presence detected.
PAPER CONE, WATCH, RABBIT, AND BOXES.--The effect of this excellent
stage trick is as follows: A watch is borrowed and dropped into a
conical paper bag held by one of the spectators. The performer then
loads the magic pistol with a small silk handkerchief; this he fires in
the direction of the bag, after which the bag is opened and found to
contain the handkerchief, the watch having disappeared. Attention is
next drawn to a box, which has been hanging over the head of the
performer from the commencement of the entertainment, and which on
being opened is found to consist of a nest of six boxes, the smallest
of which contains a rabbit with the borrowed watch tied round its neck.
The main secret of the trick lies in the paper bag, which is really
double, consisting of two pieces of paper gummed together round the
edges, the corner of one piece being removed, as in Fig. 46.
[Illustration: Fig. 46--Paper Cone]
At the commencement of the trick a small silk handkerchief is hidden
between the two pieces of paper. When making the bag it must be so
arranged that the corner at which is the opening is at the top. Under
cover of the point of the bag the handkerchief is removed from its
place of concealment and dropped into the bag proper, the double side
being immediately pulled over to the opposite side of the bag to again
conceal the handkerchief. If the bag is well made, and this side well
creased over, a casual glance into its interior will reveal nothing
suspicious. In this condition the bag is given to a spectator to hold,
and he is then requested to drop the watch into it, which he does, as
he thinks, into the bag proper, but really the watch falls into the
position previously occupied by the handkerchief. The top of the bag is
then folded over.
The performer now loads a duplicate handkerchief into the pistol, and,
having disposed of it in the usual way, fires in the direction of the
bag. He then unfolds the bag and shakes out the handkerchief, being
careful to hold the watch so that it does not fall at the same time. He
then crumples up the paper in his hands, and in the act of doing so
tears out the watch, which is forthwith palmed, the paper being thrown
away.
The box, which should be suspended with two cords over pulleys, is then
lowered; and when taking it in his hands to place it on the table the
performer is able to secretly attach the watch to a swivel hook which
is hanging on the side most remote from the audience. This swivel hook
is attached to the ribbon round the rabbit's neck, the arrangement
being as follows:--The ribbon is tied round the rabbit, which is then
placed in the smallest box, the ribbon being allowed to hang outside
the box when the lid is closed. The box is then placed in the next
larger one, the ribbon still being allowed to hang outside. This is
continued until the ribbon is left hanging on the outside of the last
box.
The solution will now be clear. As the boxes are removed one after the
other the watch is suspended behind that last exposed; and when the
rabbit is taken out it will be impossible to tell that the watch was
not actually removed from the same box.
THE MAGICAL PRODUCTION OF FLOWERS.--Whenever possible, it is always
best to lead up to an elaborate trick with a succession of smaller
illusions of the same nature. This is well illustrated in the
"Marvelous production of Flowers," which in good hands is a most
pleasing and mysterious experiment. Flower tricks always take well,
especially with the feminine part of the audience, and ambitious
amateurs should strive to have at least one good illusion of this
character on their programmes. The magician comes forward, with the
announcement, "Ladies and gentlemen, I notice that in my hurry I have
neglected to provide myself with the customary buttonhole bouquet, but,
fortunately, I have here a quantity of magic seed capable of producing
a rose garden if required." Show a small box, which is supposed to
contain the seed, while in reality it is empty. "You see I have only to
place a single seed here in my buttonhole and after breathing on it a
moment, to supply the necessary heat, I touch it with my wand and
instantly we have a beautiful rose. Now, if some gentleman will kindly
loan me a silk hat for a moment, I will show you a method by which
bouquets may be produced while you wait. I only have to place the hat
over this glass goblet, which, you see, is quite free from deception,
and here we have a handsome bouquet." Remove the hat and find the
goblet still empty. "How is this? Ah, I remember now, I neglected to
put any of the magic seed in the goblet. I will just put in a pinch of
various kinds and try again." Place hat over the glass again and
instantly raise it, and discover a large bouquet. "You perceive the
seed acts instantaneously."
While saying this brush the hat carefully and walk down as if to return
it, still holding the box of seed. Once among your audience you
exclaim, "What is that? You don't believe me? Why, see here; by just
putting a pinch of the seed into this hat and breathing on it, thus, I
will produce bouquets for all present." Show hat nearly full of small
bouquets and distribute them. Then return hat saying: "I thank you,
sir, for the use of your hat, which seems particularly fitted for
raising flowers."
Now for the explanation:--To prepare for producing a flower in the
buttonhole, take a piece of black elastic cord about a foot in length
and put one end of it through the centre of an artificial rose, from
which the stem has been removed, knotting the end to keep it from
slipping through. Pass the other end through the buttonhole, also
through a small hole made in the coat just behind the buttonhole, and
then down and fasten to the suspender button on the back of your
trousers. Draw the flower away from the buttonhole and conceal it under
the left armpit, and as you touch the spot with the wand raise the left
arm slightly, freeing the flower, which will instantly fly to the
buttonhole.
[Illustration: Fig. 47.-Production of Flowers]
After borrowing the hat place it over the glass, as above, and after
removing let the brim rest on the table a second while looking at the
glass. During this brief time slip your finger into the little
cardboard tube which serves as a handle to the bouquet, which lies on
the shelf at the back of your table and just beneath the hat. By
closing the fingers the bouquet is brought into the hat. (See fig. 47).
This takes only a fraction of a second, and as all are looking for the
bouquet in the glass the movement is entirely invisible. As soon as the
hat is "loaded" raise it quite a distance above the table and hold it
there while you pretend to put the seed in the glass. As soon as the
bouquet is shown in the glass, let the hat rest on the table as before,
and introduce the small bouquets, which are tied together with a weak
thread and are provided with a tube like the large bouquet. When you
appear to put the seed in the hat, break the thread and shake up the
bouquets loosely, and they will nearly fill the hat. Of course you must
keep your eyes fixed on the goblet while loading the hat, and never
allow yourself to glance toward the left hand which holds the hat, as
that would give your audience a hint that something was going on in
that quarter.
[Illustration: Fig. 48.--Production of Rose-Bushes]
We now come to the production of rose-bushes from flower-pots which
contain nothing but a small quantity of white sand. It is Kellar's most
famous illusion. Two small tables, draped within a foot or more above
the floor, are seen on the conjurer's stage. On each table is a
miniature stand on which are flower-pots, (Fig. 48). After the pots
have been examined by the spectators, the performer places them on the
stands, and plants seeds in them. A pasteboard cone, open at both ends,
is exhibited, and placed for a second over flower-pot No. 1. When it is
removed a green sprig is seen, which the magician declares has just
sprouted. He then places the cone over flower-pot No. 2. Removing it a
full grown rose-bush appears, covered with buds and roses in full
bloom. A second rose-bush is then produced from flower-pot No. 1. The
roses are culled and presented to the ladies in the audience. The
following is an explanation of the trick:
[Illustration: Fig. 49.-Table for Flower Trick]
The tables are open at the back, the drapery not extending completely
around them. Attached to the leg of each table is a small shelf, which
is of course concealed by the drapery, (Fig. 49). The bushes are
stumps, to the branches of which are tied the roses. Each bush has as a
base a circular piece of lead, which fits into the flower-pot. The
bushes are suspended inside of the cones, (Fig. 49 A) which are placed
on the secret shelves above described. The performer covers the first
pot with the cone in his hand, and drops from his palm the green sprig
which sticks into the sand. As attention is being called to the sprout,
the magician drops the empty cone, just shown, down behind the table
over the prepared cone and rose-bush and brings them up under cover.
The loaded cone fits closely into the empty one, but as an additional
security is held in place by the fingers of the performer. He goes to
the second table and places the cone over the flower-pot. The rose-bush
is allowed to drop into the pot, the thread which fastens it having
been detached. The bush is now shown. As soon as the cone is removed
the hand naturally and carelessly drops behind with it over the next
prepared cone on the shelf, and the performer produces a rose-bush from
the first flower-pot. He now has three cones, one inside of the other.
To facilitate the picking up of the cones in succession the back part
of each table top is cut out in crescent shape.
[Illustration: Fig. 50.--Magic Incubation]
MAGIC INCUBATION.--To produce a quantity of eggs from an empty
handkerchief is a favorite experiment with magicians. It is a
modification of the old egg-bag trick, but far more effective and but
little known. The materials used are easily procured:--a blown egg, to
which is attached a piece of thread, and a silk handkerchief. Fasten
the egg to the handkerchief by means of the thread, as shown in Fig.
50. Spread out the handkerchief, when exhibiting the trick, and show
that both sides are free from preparation. To do this you must keep the
egg concealed in your right hand, and at the moment let it fall in the
position depicted in the illustration, (Fig. 50). The thread will hold
it in the centre of the handkerchief. But remember to keep the
handkerchief waving slightly, otherwise the impact of the falling egg
against it might betray the secret of the trick. It is hardly necessary
to say that the "egg-side" of the handkerchief is turned toward
yourself. Explain to the audience that you are going to magically
produce an egg. Take the right hand corner of the handkerchief in your
mouth and hold the left corner with your left hand. Now place the
forefinger of the right hand against the upper part of the
handkerchief, the side facing yourself, and fold the handkerchief over,
grasping the two upper corners with your left hand. Next hold the lower
corners with your right hand and bring the handkerchief to a horizontal
position. Tilt one end of it over a hat and an egg will be seen to
fall, (Fig. 51). Shake out the handkerchief and repeat the above
described operation of producing eggs until the hat is apparently full,
after which you may turn it over and show it empty. This trick neatly
executed never fails to elicit well deserved applause from the
audience. Perhaps a better way to conclude the trick would be to show
that the hat really contained a number of eggs, which of course must be
loaded into it prior to commencing the trick. The best way to do this
is to have the eggs in a black silk bag which you conceal inside your
vest. After having borrowed the hat and while your back is turned to
the spectators during your journey to the stage, slip the bag full of
eggs into the hat. Then begin your handkerchief feat. It is a weak
point, in my opinion, to show the hat empty, after having apparently
placed so many eggs into it. Some acute spectator is apt to jump to the
conclusion that there was but one egg used during the experiment.
[Illustration: Fig. 51.--Incubation Trick]
THE WIZARD'S OMELET.--The recipes for making a magical omelet are
numerous and varied. Some magicians produce the eggs from the mouth of
a negro assistant following the example of Alexander Herrmann, and make
the omelet in a borrowed hat. I once saw a clown in a French circus
produce an omelet in a small frying-pan, without using eggs at all--or
more properly speaking, without the apparent use of eggs. He stirred
his wand about in the pan, holding the latter over a spirit lamp, and
presently turned out into a dish an excellent omelet, smoking hot and
very palatable. He cut up the omelet and passed it around among the
audience. Those who partook of it pronounced it to be delicious and
worthy of the chef of the Hotel Grand. This is the way the trick is
accomplished: There is no preparation about the frying-pan; that is all
fair and square, as well as round. It may be examined by the spectators
ad libitum. Not so the magic wand, which is hollow and filled with the
contents of several eggs. One end of the wand has an opening which is
stopped up with a piece of butter. When the pan is heated the butter
melts and the beaten-up eggs run out of the wand and are speedily
metamorphosed into an omelet. The stirring of the pan with the wand,
supposed to be a part of the conjurer's performance, is really
necessary to the trick. The wand is usually made of tin. It must be an
exact imitation of the wooden wand used during the course of the
entertainment.
THE WONDERFUL PRODUCTION OF RIBBONS AT THE FINGER-TIPS.--This is an
excellent little trick and one very suitable as an introduction to a
complete "production" trick, where objects of ever-increasing size, in
a compressed condition, are produced under cover of similar objects, of
a smaller size, but displayed to the best advantage. The performer
having shown both hands unmistakably empty, commences to pull yard
after yard of real colored silk ribbon from the extreme tips of the
fingers.
The secret depends upon the little accessory illustrated in Fig. 52.
This is a shield made to fit the second finger of the right hand,
provided with a lid to keep the four coils in position, also with a
corresponding number of slots on the front through which the ribbon may
be withdrawn. Each piece of ribbon should be about two yards long and
of a width to readily pass the slot. Ribbon drawn from the apparatus
when in position, see Fig. 53, will seem to come from the finger-tips.
[Illustration: Fig. 52.--The Accessory]
After a quantity of ribbon has been produced in this manner, the
magician may very well bring out a larger supply from his vest under
cover of gathering up the mass of material. An excellent winding up of
the trick would be the production of a dove from breast pocket.
[Illustration: Fig. 53.--Production of Ribbon]
JAPANESE BIRD VANISH.--The old Mouchoir du Diable, or Devil's
Handkerchief, for vanishing small objects will be known to the majority
of my readers: at the best it was but a clumsy expedient for producing
a magical disappearance, and on that account was very little, if ever
used.
The New Devil's Handkerchief, as used by Japanese conjurers to cause
the disappearance of a bird, will, on the contrary, I feel sure, be
found of practical utility to the magical fraternity. In practice it is
merely held by the four corners, ostensibly in the most careless manner
possible, and any object as an egg, ball, orange, bird, etc., dropped
into the bag thus formed instantly disappears, the handkerchief being
immediately shaken out and both sides shown.
[Illustration: Fig. 54.--Bag for Vanishing]
This seeming prodigy is thus explained.--Two handkerchiefs, preferably
of soft silk and rather large (neck handkerchiefs for instance), are
sewn together all round their edges, with the exception of a portion at
one corner as shown by the dotted lines in Fig. 54. The handkerchiefs
are also sewn together from the said corner to the centre as further
indicated by the dotted lines in the figure. A bag is thus formed into
which the object is actually dropped. The introduction of the object
into the bag is facilitated by the insertion of a couple of whalebone
strips in the silk at the mouth of the bag. These strips keep the mouth
of the bag closed until pressure be applied at their ends, when the bag
will open, receive the object, and, on the pressure being removed, will
close again, keeping all secure.
NEW FIRE TRICK.--The writer is indebted to Mr. Martinka for this novel
experiment. A thin glass tube, in the end of which is secured a small
piece of metallic potassium, is pasted between two pieces of tissue
paper. So prepared the paper is shown from both sides, being apparently
a plain piece of white paper. This is rolled into a cylinder, not
unlike an exaggerated cigarette. The performer opens his mouth to show
that nothing is concealed there, and then proceeds to blow through the
paper tube, when the far end bursts into a flame of more or less
intensity.
_Explanation._--While pretending to blow through the paper cylinder,
the performer brings some saliva into the glass tube. When blown
through the tube, the saliva comes in contact with the potassium, which
ignites and sets fire to the paper. To produce a larger flame and
sparks, a small piece of gun cotton, sprinkled with powdered aluminum
can be placed near the end of the tube. The potassium metal has to be
kept in a bottle and covered with kerosene. Whenever required for the
trick a piece is cut off with a knife. Care must be taken not to make
the mistake of putting the wrong end of the tube in the mouth. When the
paper bursts into flame it is crumpled into a ball and dropped on a
plate. The thin glass tube is crushed into small bits by the above
operation, and is not seen by the audience.
THE RING ON THE WAND.--A very pretty and graceful parlor trick is the
ring on the wand. Suspend a plain gold ring to the centre of a
handkerchief by means of a short piece of silk thread. Come forward
with the handkerchief in your pocket, and borrow a ring as much like
your own as possible. Pretend to wrap up this ring in your
handkerchief, but substitute for it the fake ring. Give the
handkerchief with ring in it to some one to hold and ask him if he
still feels the ring contained therein. He will reply in the
affirmative. You now get your wand from a table. While doing this take
the opportunity to slip the borrowed ring which you have in your hand
over one end of the wand, keeping it concealed. Approaching the
individual who holds the handkerchief request him to place it over the
middle of your wand which you hold horizontally by its centre, having
slid your hand (with the concealed ring) along its smooth surface. Now
request two spectators to hold either end of the wand tightly. Explain
that you will cause the ring in the handkerchief to appear upon the
wand, despite the fact that the latter is firmly held by two persons.
Remove your hand from the wand and take hold of the handkerchief. With
a hey presto, give the handkerchief a quick jerk and shake it out. The
borrowed ring on the wand will spin around in lively fashion, as if it
had really left the handkerchief and by some magical means appeared
upon the wand. Your handkerchief with the fake ring attached must be
pocketed as speedily as possible. It might be well to borrow a plain
white handkerchief from some one in the audience and exchange it for
your prepared handkerchief.
[Illustration: Fig. 55.--Silk Handkerchief]
[Illustration: Fig. 56.--Fake on Finger]
DISAPPEARING GLASS OF WATER.--This clever illusion is a favorite with
many performers, and is particularly adapted to drawing-room
entertainments. It was invented by Colonel Stodare, originator of the
famous "Sphinx" trick. Since Stodare's time many improvements have been
made in it, one idea, emanating from the fertile brain of Dr. Elliott.
Stitch two silk handkerchiefs, preferably of a dark color, together in
the manner shown in the diagram (Fig. 55), having first inserted in the
triangular space between them a disc of thin tin, of the same diameter
as the mouth of the glass used. Now to the middle of the under surface
of the tin fake solder a little band of tin just large enough to snugly
fit over the tip of the second or index finger of your left hand, (Fig.
56). This constitutes Elliott's improvement. Exhibit the handkerchief
to the spectators, calling attention to the fact that it contains
nothing. Twist it rope fashion, and pull it through your left hand,
thereby demonstrating that nothing could possibly be concealed in it.
This you are enabled to accomplish by grasping the tin fake and
retaining it in the right hand. Finally shake out the handkerchief,
releasing the disc, which will now fall to the centre of the
handkerchief and be kept in position by the triangular stitching. At
the rear end of your table you have a glass filled with water. Spread
the handkerchief over the glass, bringing the tin shape over the mouth
of the same. Lift up the fake, and under cover of the handkerchief
lower the glass upon the shelf behind the table. The handkerchief,
distended by the tin disc, will present the appearance of having the
glass of water under it. Now step forward as though holding the glass
of water. Place the left hand beneath the handkerchief, and quickly
insert the index finger into the little band soldered beneath the disc,
the right hand bearing down at the time to facilitate matters. To an
audience it will seem that you hold the glass of water on the palm of
your left hand, presenting a very illusory appearance indeed, (Fig.
57). To vanish the glass completely all you have to do is to catch one
corner of the handkerchief with your right hand, give it a sudden flick
in the air, which releases the hold of the finger of the left hand,
when lo and behold! the glass of water has melted away. To reproduce
it, take a duplicate glass of water from your coat-tail pocket. "But!"
says the dubious reader. Ah, we are coming to that! There is no danger
of spilling the water, for the mouth of your glass is tightly closed
with a rubber cover. All you have to do is to remove the cover before
exhibiting the glass.
[Illustration: Fig. 57.--Handkerchief in Position]
ANTI-GRAVITY WAND.--The use of the wand has been sufficiently explained
to the student. In calling attention to the fact of its being endowed
with peculiar properties, similar to the magic wand of Bulwer's "Coming
Race," the conjurer might execute a few tricks with it as a prologue to
his programme. The "Anti-gravity wand," invented by that clever
magician, Dr. Elliott, would prove useful in the above instance, (Fig.
58). It consists of a piece of brass tubing made to correspond with the
performer's ordinary wand but with square ends. In one end of this
tubing is inserted a cylindrical lead weight made to fit nicely. At
each end of the weight is glued a piece of felt, so as to prevent noise
while the fake is working. With this trick wand you can apparently defy
the law of gravity. It is divided internally into three compartments,
two small ones at either end, and a larger one in the centre, by means
of the partitions, which do not, however, extend completely across the
wand. A quantity of quicksilver is inserted in the wand and the ends
sealed up. In the normal condition, this will remain in the central
space, but if the wand is tilted either way, the mercury will flow into
the little pocket at the lower end. Should this end be laid upon the
table, the weight of the fluid metal would more than counterbalance the
remaining portion of the wand, and it would therefore be suspended
apparently in space. By reversing the wand, the other end would perform
a like phenomenon.
[Illustration: Fig. 58.--Anti-Gravity Wand]