TRICKS WITH HANDKERCHIEFS AND GLOVES.
THE RESTORED HANDKERCHIEF: ITS VARIOUS MISFORTUNES--THE
CONJUROR'S PISTOL--SUN AND MOON: A TOTAL ECLIPSE--THE
DISSOLVING KNOTS--THE DECANTED HANDKERCHIEF--THE MELTING
HANDKERCHIEFS--THE ELASTIC GLOVE: HOW TO ACCOMMODATE ALL
SIZES.
_The Restored Handkerchief._--This title will doubtless apply to many
tricks with handkerchiefs, so, if the performer thinks it too general,
he can find another of his own for this particular trick. Herrmann
called it Le Mouchoir Serpent, from the fancied resemblance to a snake
which the handkerchief was made to take at one stage of the trick. For
it the performer must have prepared a lemon, with a small handkerchief
inside. The way to operate on the lemon is as follows: Cut off one
end--the apex is the best--and then, by means of a spoon, take out
the whole of the interior, being careful to remove the inner white
skin. Push in the handkerchief, replace the portion of lemon which
you cut off, and sew it carefully on with yellow cotton or silk. The
first lemon or two are rather tiresome to prepare, but after a time
the job can be done very quickly and neatly. The method of sewing
which should be adopted is that known as "under-sewing," and it will
be necessary to guard against including the handkerchief itself in
the stitching. As the handkerchief placed inside is meant to be
subsequently destroyed, it need be of the very commonest description
only. It can be obtained for three-halfpence. On the centre table have
a small scent-bottle, with methylated spirits, a lighted candle, a
common plate, and a knife. Concealed in the palm of one hand are about
ten pieces of cambric, each about three inches square, and properly
hemmed. Under the vest is a piece of cambric two inches broad and
about four feet long, doubled, not rolled, up. Behind the scenes are a
couple of pieces of thin wrapping paper about nine inches square. In
the hand not occupied by the pieces conceal the prepared lemon, and
advance to the audience. Pretend to see something in a gentleman's
hair, and, after fumbling in it, produce the lemon. Let several
persons smell at the fruit, taking care to present the better-looking
end, in case your sewing has not been very successful. Of course, the
lemon must not leave your hand, except to be tossed once or twice in
the air, to show that it is real. Place this lemon on a side table,
and there leave it, with the sewn-up end from the audience.
Now borrow a small handkerchief, the smaller the better but do not
take one that is much ornamented with lace. Turn to a gentleman, and,
whilst asking him to stand up, roll the handkerchief up carelessly in
the hand, and, working it round the bundle of pieces which you have
concealed, bring it underneath and let the pieces appear at the top.
This can be done in an instant whilst you are talking with the person
whom you wish to assist you. Give the bundle of pieces, which the
audience will think is the handkerchief, to him, with instructions to
rub it gently in the hands. You have, in the meantime, taken care to
keep the exchanged handkerchief well concealed in the palm. Retire to
the stage, and, whilst mounting it, vest the handkerchief and take in
its place the doubled-up long piece, which keep concealed by means
of the wand. Ask your assistant how he is getting on, and explain
that you wish him to rub the handkerchief so small that it can be
passed inside the lemon. After a little rubbing has taken place, ask
him to open the handkerchief out, to see if it is any smaller. Of
course, when he attempts to do so, it will drop about in pieces, to
everyone's astonishment. Affect great annoyance, and advance, saying
that the trick is now spoilt all through the handkerchief being
_rubbed the wrong way_. Collect the pieces together, and, rolling
them up, exchange them in the hand for the long piece. This exchange
may at first seem very daring and difficult, but, if care is taken
always to have the piece or pieces concealed well down in the hand
before the substituted article is removed, there need be no fear of
detection; only the performer must go right at it, and not falter in
the least. Give the long piece to your assistant, and tell him to rub
it this time with the left hand. Whichever way he rubs you must say
is the wrong one, and finally ask him to give you one of the pieces
that you may show him what you mean. In his attempt to give you one
of the supposed pieces, he will unroll the long piece amidst much
laughter. After suggesting that the gentleman pays for the destroyed
handkerchief, rub it up in the hands and "pass" it into the lemon. For
this purpose, it may be rolled up on the table, and passed down a trap.
Instead of "passing" with the hands, it is in every way neater and
more effective to use a conjuring pistol, which is loaded with the
handkerchief and then fired. This pistol will have to be provided
with a large tin funnel, so constructed that the tube portion, which
must fit the barrel of the pistol closely, extends for a long way
inside the funnel. When a handkerchief, or similar article, is rammed
into the funnel, care is taken that it goes around the tube so that,
on the pistol, which has been previously loaded, being fired, the
flash passes harmlessly down the tube. The mouth of the funnel must
never, by any chance, be seen by the audience. These pistols, which
are exceedingly useful at all times, can be purchased at conjuring
repositories; but it is easy for anyone possessing an ordinary pistol
to have it fitted with a funnel by a tinman.
Suppose the long piece either "passed" or fired out of the pistol,
take the lemon and cut it open with the knife, and pull out the
handkerchief that was already in it. Pretend to advance for the
purpose of returning it to its owner, but suddenly discover that
it smells of lemon. Say that you will put some scent on it, and,
placing it upon the plate, saturate it with spirits from your bottle.
Whilst advancing a step or two, to inquire if it is enough, your
stage attendant enters and quietly sets light to the spirits with the
candle. You turn back and nearly burn your fingers, and start aside
horror-stricken.
A slight scene now takes place between you and your attendant, who
insists that you told him to set fire to the handkerchief. Run down
to the audience with the plate and its blazing contents, asking the
owner of the handkerchief to take it in its present state. Turn back
and drop it on the floor of the stage, and then go behind the scenes,
where quickly take the original borrowed handkerchief from the vest,
and wrap it in one of the two pieces of paper (it will add to the
effect if you scent the handkerchief a little), which hold in the
hand covered by the second piece of paper, open. During your absence
your attendant has been dancing about, affecting to burn his fingers,
&c. When the handkerchief is nearly burnt out, snatch up the remains
of it quickly and pop it into the open piece of paper, roll it up
rapidly and exchange for the real handkerchief in paper, vesting it
at once, or a severe burn may ensue. This is done whilst hurrying
towards the owner of the handkerchief, to whom you say that you have
done the best you can, and are sorry that you have only the ashes of
the handkerchief to offer; but that if she will leave her address,
you will forward a new one in the morning, &c. Finally, you have the
supposed ashes blown upon, and then tear open the paper, revealing
the handkerchief. If you have scented it, call attention to the fact.
If I wanted to test a conjuror's ability, I should give him this trick
to perform. No duffer could ever get half way through it; and yet, by
attention to the rudiments of palming, &c., it becomes easy enough.
There can be no two opinions about the effect produced. The principal
portions should be rehearsed with your attendant.
A very amusing variation to this trick is the following: Purchase two
cheap sunshades of a precisely similar pattern. They should be small,
and the covers of light alpaca. From one carefully strip the cover, so
as to leave the ribs bare, and, at the end of each rib, fasten a piece
of cambric exactly similar to those used in the rubbing-away episode.
This sunshade have lying upon the shelf at the back of the table,
rolled up in paper. In one of the large side pockets have concealed
the cover, rolled up and tied with very fine thread, that may be
easily broken. Upon the table have lying a piece of paper similar to
that in which the sunshade upon the shelf is wrapped. At the opening
of the trick, show this sunshade round, and then proceed to wrap it
up in paper, on the table. You will always have some extra sheets,
and behind one of these the one sunshade is exchanged for the other.
Give it to be held in the company. Then borrow a hat, and secretly
introduce the cover, placing the hat on a side table. When the trick
has proceeded as far as the discovery of the small pieces in the hands
of the spectator who is rubbing the handkerchief, place them in the
pistol and fire at the sunshade held in the company. Great amusement
ensues when the bare ribs are discovered, with the pieces of cambric
flying from them. These are then taken off, and the trick proceeded
with, as before described, the cover being discovered in the hat at
any convenient period. Break the thread, and shake it out well before
bringing to view, so as not to suggest any idea of its ever having
been rolled up tightly into small bulk.
_Sun and Moon._--This is another amusing trick, in which handkerchiefs
are destroyed and restored in a most lavish manner. Beyond the
preparation of a couple of handkerchiefs, and the use of a conjuring
pistol, no apparatus is required, if the trick be performed after the
following method, which is according to my own arrangement, and in
keeping with my belief in sleight of hand as opposed to apparatus.
Purchase three common coloured cotton handkerchiefs, all of precisely
the same pattern, and from the centre of one of them cut a circular
piece some three or four inches in diameter. Replace this with a white
piece, so that you have a coloured handkerchief with a white centre.
Take a white handkerchief, and cut from its centre a circular piece
just a trifle smaller than that from the coloured handkerchief, which
latter then sew in the centre of the white handkerchief. A friend
of yours in the audience should have the second of the coloured
handkerchiefs in his pocket, and receive instructions to the effect
that, when you ask for a handkerchief in a particular manner (you
can easily arrange a sort of by-word between yourselves), he is to
offer this particular handkerchief, which you tardily accept. This
is one of the very rare occasions on which I permit myself to have a
confederate in the audience; and I only do it because (1) a really
capital trick would otherwise be impossible of performance, and (2)
because it is not at all necessary that your confederate should know
anything about the trick. I always say that it is necessary for me to
have in such-and-such a trick a coloured handkerchief, _merely for
effect_, and it is rarely that people bring coloured handkerchiefs
with them, so, to avoid disappointment, &c., &c. If the person who
officiates be a dullard, he will be none the wiser, and if he be a
relative, as he should be, he is tolerably safe. Coloured handkerchief
No. 3 you have rolled up in a piece of paper and placed in your
capacious breast pocket. Besides these, you must have in the palm of
one hand an ordinary white handkerchief concealed. The two prepared
handkerchiefs already described are done up in paper in the shape
of a ball and placed upon the shelf at the back of the table, on the
top of which are lying a few loose sheets of paper similar to that in
which the handkerchiefs are wrapped. Also on the table are two plates,
some methylated spirits, a lighted candle, two pairs of scissors, or
else two sharp knives, and a funnel pistol. Advance to the audience,
with the white handkerchief concealed in the palm, and borrow two
handkerchiefs--one a white one, at hazard, except that you endeavour
to let it be one somewhat similar to your own, and the other, the
coloured one, from your friend. Exchange the white handkerchief for
your own, as in the preceding trick, and vest it, and then give both
white and coloured handkerchiefs to be held by separate persons.
Each handkerchief should be held horizontally by the two hands, one
holding the very centre of it, and the other grasping it a few inches
away. Give the scissors or knives to two other persons, and bid them
mark the handkerchiefs. At first some hesitation will be shown at
cutting the handkerchiefs, but you must say there is no fear. From the
position in which each handkerchief is held, it will be incumbent on
anyone cutting between the hands of the person holding it to take a
piece clean out of the centre. When this cutting is over (you might
do it yourself, only it looks more genuine and creates more fun to
have it done by the audience), say that there will be no mistaking
the handkerchiefs now, for they are marked with a vengeance. Now take
the mutilated coloured handkerchief and the white piece, and put them
on one plate, the the mutilated white handkerchief and coloured piece
being put on the other. Pour spirits on both, and set fire to them.
When they are well ablaze, pretend to discover that you have made
the mistake of mixing the colours, and endeavour (fruitlessly, of
course) to take out the burning pieces. Remark that it is a very bad
job, as you had hoped to have shown a specimen of your skill, but now
everything is spoilt through your forgetfulness. Your stage attendant
can attend to the burning of the handkerchiefs, if you so please,
in which case you can give him a good blowing up, and threaten to
discharge him on the spot. The more penitent he can manage to look,
the better it will be for the effect of the trick. Take the ashes, and
put them in a piece of the paper which is on the table, and, whilst
affecting to put this in a second piece, exchange it for the prepared
handkerchiefs in paper on the shelf. This method is very easy, and
is thus performed: Stand at the end of the table, and, with the hand
that is nearest the audience, raise a piece of paper partly from the
table, but not so much as to enable the audience to see under it, and
behind this temporary screen the exchange can be effected by means
of the rear hand with impunity, providing it is done quickly but not
hurriedly, and with the eyes turned towards the audience, to whom the
performer is impressively descanting on the many vicissitudes which
chequer a conjuror's career. Directly the two parcels are safely
exchanged, go forward and give the paper to be held by one of the
audience. An ordinary pistol can now be let off, or a word of command
given, and the paper then opened. Affecting not to notice that there
is anything wrong, you proceed to return the handkerchiefs to their
respective owners. Laughter will, of course, ensue, and you will
then appear to be overwhelmed with confusion. Borrow a hat, put the
handkerchiefs in it and take them out again, and finally drop one on
the floor. The action of stooping to pick it up will enable you to
bring the opening of the hat against your breast, and you must seize
this opportunity of slipping the roll from the breast pocket into
it. Go back to the table and place the hat upon it, and then, taking
up the funnel pistol, ram the handkerchiefs into it, with the remark
that you may as well get rid of them altogether. Fire the pistol, and
then ask if anyone saw anything pass into the hat, as you fancy you
did. Go to the hat and produce the roll, which open, and show the
coloured handkerchief. Spread this out, to show that the centre is
perfectly restored, and, whilst going forward with it, take the white
handkerchief, unperceived, from the vest, and roll it up inside the
coloured one. Then say, "Ah! but we have not the white handkerchief
yet; well, perhaps we shall be able to find it." Rub the coloured
handkerchief in the hands, with the white one inside, and, finally,
open both and return to their owners. This finale is, perhaps, the
most difficult part of the trick. Take care when the funnel pistol
is fired that you either stand it upon its broad end, or else place
it upon the table with the mouth from the audience. Although, to the
audience, an enormous amount of destruction appears to be going on,
such is not really the case, as two handkerchiefs only are destroyed
in the trick.
[Illustration: FIG. 42.]
[Illustration: FIG. 43.]
_The Knots._--I call this trick by a simple name, because extreme
simplicity is its prevailing feature from beginning to end. The last
few tricks described have all had apparatus, to some extent, as a
component part; this one is all sleight of hand. In "Drawing-room
Magic" (p. 65), I gave directions for untying a knot by word of
command, and noted at the time that an enlargement of the trick would
be given in "Grand Magic." We have now arrived at the enlargement.
In the minor trick, the knot is tied in a peculiar fashion by the
performer himself; now the knots are to be tied by various members of
the audience, and it is this which gives the trick such a marvellous
appearance. The performer advances, and begs the loan of several
handkerchiefs. He takes two of those proffered, and, advancing
towards one of the audience, presents just four inches (on no account
more) of one end of each handkerchief, one being crossed over the
other, with the request to have them tied together in a knot. The
reason for crossing one end over is to induce the tyer to make either
a "granny" or a reef knot, which are the knots easiest to undo--that
is, after the conjuror's method. Fig. 42 shows a "granny" knot. The
general appearance of a reef knot is somewhat the same, so it does
not require a separate sketch, and the mode of proceeding will be in
both cases similar. For convenience of description, I have depicted a
dark-coloured and a white handkerchief, and the performer will do well
to take this hint, and always, where possible, borrow handkerchiefs
varying in colour or texture, in order that the sinuosities in the
knots may be easily followed by the eye. As the performer wants a knot
that is tied neither too loosely nor too tightly, he must keep his
eye upon it whilst it is being tied. If it is loosely done, he must
say, "Don't be afraid of tying it up tight, sir [or madam]; pull as
hard as you like." In the event of a too literal acceptance of his
words, he should take the handkerchiefs at once. Even when the knot
is tied as hard as a stone, the performer takes it in the hands, and,
with the remark, "Oh! this is not half tight enough yet," pretends
to pull it up with all his force. What he really does is to take the
small end of one handkerchief in one hand, and the body of the same
handkerchief on the other side of the knot in the other. By pulling at
these hard, and, where they do not give easily by wriggling them as
well, the end of the handkerchief will be pulled out quite straight,
as in Fig. 43. It will there be seen that the white handkerchief
has been manipulated upon, and that the dark handkerchief is now
really only tied _round it_. In some cases, the greatest difficulty
arises through some malicious person tying an extremely hard knot. If
the performer pulls too hard, he will, in all probability, rend the
handkerchief without making things much better. In this case, he must
endeavour, whilst borrowing another handkerchief, for the continuation
of the trick, and under concealment of the same, to loosen the knot
a little in the ordinary way, and then he can straighten the end
openly later on, as though trying if all the knots were secure. It
is not often that the amateur will, at the outset of his career,
find much difficulty of this kind, for his audiences will not be of
the antagonistic class. Suppose everything has gone favourably, the
performer then takes another handkerchief, and has that tied on also,
of course to a disengaged corner, and so goes on with four, five,
or six, each knot being operated upon as soon as it is tied. If he
notices that anyone is tying a reef knot, he should at once audibly
remark upon it, as the public has a great idea that a reef knot is the
most difficult to untie, whereas it is really the easiest of all. When
anyone goes in for a multiplicity of twists, one end being wound round
the other several times, let the performer rest easily in his shoes,
for he has only to pull that end round which the other one is coiled,
and five or six coils will make no difference; at the same time, he
must appeal to the audience whether it is fair, &c., for effect. When
the required number of handkerchiefs have been tied together, and all
the knots have been operated upon _secundum artem_, the performer
retires to the stage, and, taking a chair or low table (the chair
for preference), proceeds to place the handkerchiefs in a pile upon
it after the following manner: Knot No. 1 is held between the tips
of the finger and thumb in such a manner that the main body of the
straight end lies along the palm of the hand. The loose portion of
the handkerchief is then opened out by the left hand and covered over
the knot, which is placed, at the same time, upon the chair; whilst,
under cover of the handkerchief, the little finger of the right hand
is drawn up by a contraction of the hand as closely to the knot as
possible, and there grasps firmly the main body of the straight end.
By straightening out the hand again, the end will be pulled right out,
and the handkerchiefs parted. All this must be done quickly. If the
end, as it often will, requires two pulls to draw it clear, it is best
to lift up the handkerchief, and exhibit the knot again, to show there
is "no deception," or on any other plea, before giving the second
pull. Proceed after the same manner with all the knots, each one being
covered with a separate handkerchief, taking great care that none of
them slip off the chair during the operation, or it will be shown
that the knots are already undone. The handkerchiefs should either be
trailed on the floor or hung over the back of the chair, where they
will not become confused or get under the performer's feet, and so
receive an undesired tug. For the purpose of diverting the attention
of the audience during this operation, the performer should make some
jocular remark concerning each knot. He should say something about
having at length come to the "knotty point," and then describe each
knot, whether correctly or incorrectly will not much matter. One, he
must say, is the reef knot, another the Gordian knot, and another a
weaver's knot. The last made will generally be a true lover's knot,
about which the performer may remark, before small audiences, that it
was a _knotty_ (naughty) person who tied it. The performer has only to
wave his wand over the heap, or to blow upon it, and then lift off
the handkerchiefs one by one. The beginner will do well to try only
three knots as a commencement, and to have them tied by ladies, who,
as before explained, are always the best to fly to in risky cases.
Whilst the knots are being tied, hang the handkerchiefs already joined
over one arm, where they will be out of the way of danger, and in the
way of assisting the performer by concealing any covert proceedings
on his part in untying obstinate knots. The knot depicted at Fig. 44
I have christened the _bête noire_ knot, and such the performer will
find it whenever it is tied for him. If he does not put the ends of
the handkerchiefs crossed into the hands of the person whom he
requests to tie a knot, he will find the _bête noire_ appear with
marvellous rapidity. When it or any other difficult knot appears, the
only thing to be done is to untie it covertly, and do it up again
after the matter described in "Drawing-room Magic." This may seem
a very cool direction to give, but is the only one appropriate to
the occasion, and the performer must make the best of a bad job. I
have often untied a knot whilst mounting the steps of the stage, and
had everything done up again by the time I reached the chair. The
performer must practise by tying for himself the most intricate knots
imaginable; or, if he learns with a companion, let the two tie knots
for each other. Silk handkerchiefs are, as a rule, the best; they
slip easily and do not tear readily, which latter quality is not the
lesser advantage: it makes one very uncomfortable to have to return
a handkerchief with one end hanging by a thread. This trick is one
of the few which it is impossible to purchase. Let every conjuror be
careful in his performance of it, and only give it "by request," or on
special occasions, for it is worth half a dozen apparatus tricks put
together.
[Illustration: FIG. 44.]
Although very good indeed, the following method, in which one
handkerchief only is used, is not so effective as when several are
employed. The performer takes a large handkerchief, and ties a single
knot in it, near the centre. He does not pull this knot tight, but
leaves a loop large enough to receive his hand, or, at least, several
fingers. Holding this loop in one hand, and presenting the two ends,
side by side, with the other, he has another knot tied upon the first
one. Whilst passing to another person, one end is pulled out straight,
of course whilst ostensibly tightening the knot, and another knot
is then tied; the end before straightened is again pulled at, and
another knot tied, and so on until the handkerchief is all knots.
The performer takes a pull at the straight end to ensure its running
easily, and also pulls it through as far as it will come without
actually untying. He then covers the bunch of knots with the loose
centre of the handkerchief, and gives the whole to be held in the
hands of a spectator. As the trying of many knots will have caused
the centre of the handkerchief to become tightened up, it will be
necessary for the left hand to take some time in opening it nicely.
The time thus gained is just sufficient to enable the right hand to
work out the straight end through the many folds; the movement being
naturally screened by the open portion of the handkerchief in the
left hand. Ask the person to whom the bundle is given to hold, to
feel that the knots are still there. He will feel the hardened folds,
and will mistake them for the knots. Always borrow a handkerchief for
this trick, or the audience will infallibly think that the knotted
handkerchief is rapidly exchanged for another. If anyone starts tying
a _bête noire_, you can stop him at once by saying that there will be
no room for anyone else to tie a knot. This method is much easier than
its forerunner, but, as before stated, it is not half so effective.
_The Decanted Handkerchief._--The performer comes forward with an
empty decanter, which is examined, and then completely covered with
a cloth and given to a spectator to hold. The performer takes a
second decanter, and places in it a handkerchief, also previously
examined, and stands upon the stage. At the word of command, the
handkerchief vanishes suddenly from the second decanter, which is
not covered, and, on the cloth being removed from the first decanter
by a spectator, the handkerchief is found inside. This pretty trick
is thus performed: Procure two toilet water-bottles--by courtesy
called decanters--with as wide necks as possible; also two silk
handkerchiefs, precisely similar. Scarlet is a serviceable colour for
the purpose; and the handkerchiefs should be of very fine material,
in order that they may be rolled up into a very small space, and
not more than 15 in. square--rather less, if anything. Behind the
scenes the performer folds up one of the handkerchiefs small enough
to be concealed under the fingers when they are holding the neck of
the bottle. If three fingers are sufficient, so much the better; but
even if four are used no uninitiated person would ever suspect that
anything would be concealed in so audacious a manner, especially
as not the least clue has been given by the performer as to what
is to be subsequently performed. The bottle shown round, a cloth
is produced and covered over it, the handkerchief concealed in the
fingers being popped into the bottle during the process. As it should
at once spread out, it is not advisable to "double" it up tightly in
the act of folding, but rather to "bunch" it, as it will then spring
open the more readily. The bottle should be completely wrapped up in
the cloth, bottom and all, and the spectator into whose custody it
is placed must be enjoined to place one hand on the top and another
at the bottom. The performer now proceeds with his other bottle and
the visible handkerchief. Around his left wrist he has attached a
thick eyeglass cord, which passes up the sleeve, round the back, and
down the right-hand sleeve, where it has a short hook attached. In
order that it may be readily found, this hook should be fixed in the
inside of the coat cuff. The performer shows round the handkerchief,
leaving the second bottle on the table, and, as he turns to fetch that
article, the hook is got down and fixed firmly into the _centre_ of
the handkerchief. It is then pushed down the neck of the bottle by
the performer, the pushing down being conducted in such a way as to
suggest the extreme difficulty of getting the handkerchief into the
bottle. The wand may here be used with effect to ram it down. Standing
with his right side towards the audience, the performer holds out
the bottle, and announces his intention of causing the handkerchief
to fly from it into the one held by a spectator, the holder being
enjoined to keep a good watch, &c. At the word "three" (counting
"one, two, three," slowly, always adds to the effect, by preparing
for a climax), the performer thrusts out both hands to their fullest
extent, when the handkerchief will fly out of the bottle up the right
sleeve, its passage being shielded by the right hand, which must, of
course, be disposed preliminarily so as to afford a free course to the
handkerchief. If the performer, holding the bottle in the right hand,
presented his left side to the company, many spectators might be able
to see the handkerchief fly up the sleeve. With the right side towards
them, they only see it disappear suddenly from the bottle. The length
of the cord will require adjustment, and it should be as short as the
conjuror can conveniently manage without cramping the movement of the
arms. Some performers use a piece of stout elastic, which certainly
has the property of causing a self-acting, rapid disappearance; but
when once the hook is in the handkerchief, and the latter in the
bottle, a constant hold must be kept on the elastic to prevent a
premature flight, which would at once destroy the trick. The spectator
holding the bottle is asked to remove the cloth and examine the bottle
as much as he pleases, and the performer then hands the second bottle
for examination, which has not been done before. A trick so very easy
of management, and yet so effective, should be a favourite one with
amateurs.
[Illustration: FIG. 45.]
_The Melting Handkerchiefs._--The performer comes forward with a
soup-plate in one hand and two silk handkerchiefs in the other. The
plate, after being shown empty, is placed upon the ground, inverted,
whilst the performer takes the handkerchiefs in his hands, and
commences to roll them up in them. He rubs his hands together, and, on
opening them, the handkerchiefs are found to have melted completely
away. The soup-plate is then raised by one of the company, and the
handkerchiefs are found beneath.
The soup-plate portion of the trick is thus easily managed: The
performer has balled up under the fingers of the hand holding the
plate duplicate handkerchiefs of those he holds openly in the other
hand. They are of very fine silk, and so are easily concealed. As
he boldly shows the inside of the plate, where the fingers are, the
spectators never suspect the presence of the handkerchiefs, or of
anything else. As the plate is laid carelessly upon the floor, it is
drawn a few inches towards the performer, the side that is towards
the company scraping the ground. In this way the handkerchiefs are
got underneath. The melting away of the handkerchiefs is accomplished
with the aid of the plain-looking implement depicted at Fig. 45. It
is constructed of wood, is hollow, and is blackened on the outside.
Through the end is a hole, and through that is passed a piece of
stout elastic, having a knot on the inside. On the side seam of the
vest is sewn a ring, and the end of the elastic, after being passed
through this, is brought round the back and left side, and fastened
securely to a button in front. This great length is necessary for
the facile performance of the trick. When at rest, the wooden holder
rests against the ring on the vest. After the performer has finished
placing the plate upon the floor, he retires to the stage, and stands
sideways to the company. Supposing the holder to be on his right side,
that side would be nearest the company. First of all, the sleeves are
turned very far back, and then, under cover of the right forearm,
the left hand seizes the holder, and, drawing it out of concealment,
places it in the right hand, where the handkerchiefs are being held.
The performer may get out the holder before this, if he pleases--the
proper time for so doing being whenever a favourable opportunity
presents itself--and keep it palmed in the right hand. The arm will
always prevent the elastic being seen by the company. With his arms
outstretched, and the hands together, the performer proceeds to gather
in the handkerchiefs by slow degrees, the fingers of the left hand
pushing them into the holder. When they are all pushed home, the hands
are opened slightly, the left hand only being moved for this purpose,
and the holder, thus released, flies back until stopped by the ring.
The performer continues rubbing away the handkerchiefs, still supposed
to be in his hand, and he must act as though they were being rolled
into an ever-decreasing ball, the final kneading being done by the
tips of the fingers of the right hand, working in the palm of the left
hand. All that now remains is to have the plate lifted. The trick may
be prolonged and varied if the performer has a second holder on his
left side containing handkerchiefs of other colours to those first
used. By getting this holder out and rolling up the handkerchiefs from
under the plate, the new handkerchiefs may be got out and the old
ones substituted. Or the trick may be done the other way round, and
the change executed first, the second handkerchiefs being found under
the plate. There is no reason why this trick should not be even more
elaborated, and further changes of handkerchiefs made. This may be
done by means of a holder, some four inches in length, open at each
end, and connected with the elastic by a metal fork-shaped piece,
upon which it swivels by means of a pin passing through the centre.
Each side can contain handkerchiefs of different colours, the pin
through the centre preventing their becoming mixed with one another,
and a variety of changes made, which will be intensely bewildering
to the spectators, especially as the performer each time gives the
handkerchief for examination, and shows his hands empty. The perfect
simplicity and completeness of the method of vanishing permits of
its being repeated any number of times, each successive change or
disappearance causing fresh wonderment. Care must, however, be taken,
in each instance, that the handkerchiefs are pressed well home in the
holder, as an exposed portion might be seen as it flashed under the
coat; whilst there is still greater danger of its subsequently working
out and becoming slowly visible to the company. If the great length
of elastic which I have recommended were not employed, the performer
would not be able to stretch his arms out to their full extent in
front of him; and it is highly essential for effect that the hands
should be as far removed from the body as possible. The ingenuity of
the performer will enable him to employ the holder in many tricks in
which handkerchiefs take part.
_Le Gant de Paris._--For this trick, which will bring the performer's
utmost skill into play, the following articles will be required: An
orange, a lemon, and a walnut, all embowelled. The walnut contains a
small kid glove, the lemon contains the walnut, and the orange the
lemon. Besides these, the performer has a whole orange, lemon, and
walnut, which he can either bring forward, or, for preference, find in
persons' hair or on their noses. He has, also, concealed separately
under the vest, a tiny glove, not more than three inches in length,
and another quite ten inches long. These will be best manufactured at
home under personal supervision, and they should be well made. The
three fruits, produced or discovered, are placed in various positions
on the table, or tables, care being taken that the lemon is situated
conveniently near a trap. Opportunity must be taken for exchanging the
orange for the prepared one. There are many ways for doing this. One,
which is as good as any, is to give the perfect orange to the stage
attendant, telling him to place it upon the table, and then at once
engage the audience with something else. In going towards the table,
the attendant effects the exchange. Other methods, such as having the
prepared orange on the shelf, and exchanging it with the other whilst
calling attention to the lemon--carrying it in the breast pocket, and
exchanging it when the back is turned to the audience--will readily
suggest themselves. It is impossible to set down any hard-and-fast
rule for such _minutiæ_ as these. Sometimes the disposition of the
stage, or of the audience, will necessitate the adoption of a method
that would, under other circumstances, be impossible of introduction.
The small glove is now brought down and kept concealed in the palm,
and a kid glove, of the same colour as the one inside the prepared
walnut shells, borrowed. Express your intention of making it pass
inside the walnut, and observe that it is a little too large. Saying
that you will make it a little smaller, proceed to rub it in the
hand, and eventually exchange it for the tiny glove, which produce,
and give to a gentleman to fit upon the hand. Of course, it will be
too small, and you will inquire what size glove the gentleman wears.
You affect to misunderstand him, and clap on ten sizes more. Thus,
if eight and a half is said, you exclaim, "Eigh_teen_ and a half!
That's a very large size, sir. But perhaps you think I can't make one
so big. I will show you." It is sure to be explained that eight and
a half, and not eighteen and a half, was the size mentioned, but you
affect not to hear the correction, and proceed to rub up the small
glove, having previously got down the large one. Make a great fuss of
stretching, and finally produce the large glove, allowing the small
one to drop inside it. The original borrowed glove in the meantime
vest, if you have not done so already. Now proceed to the table, and,
rolling up the large glove, with the little one inside it, tightly,
pass it down a trap, and affect to rub it away into the walnut. Take
up the walnut and vanish it by sleight of hand, pretending to pass it
into the lemon, which get rid of, along with the nut, down a trap, and
finally cut open the orange. Take out the lemon and cut that open,
and produce the walnut. Ask one of the audience, on that side of
the auditorium which is opposite to where the owner of the borrowed
glove is seated, to open the walnut, at the same time getting down
the borrowed glove from the vest. Take the glove from the walnut in
one hand, and, pretending to place it in the other, whilst advancing
towards the person from whom it was borrowed, effect an exchange. This
must be done with all possible neatness and skill, or, at the last
moment, the trick will fail. Supposing that you take the glove from
the walnut with the left hand, the right should contain the borrowed
glove. The left hand then makes a rapid movement towards the right, as
if placing the glove in it. The glove in the left hand is in reality
concealed, and the one in the right hand revealed. Half an hour's
practice will make a wonderful difference in the execution of this
pass, which will often have to be used, sometimes in cases of great
emergency. On cutting open prepared oranges, lemons, &c., always be
careful to throw the skins behind you, or elsewhere away from the view
of the audience, who are not likely to be deeply impressed in favour
of your skill after a close examination of the remains of the prepared
articles. If the triple combination of orange, lemon, and walnut is
at first too difficult, try the dual one of lemon and walnut only. It
is still very effective, and there is far less to think about. If the
performer is limited as to traps, the large glove can be fired at the
walnut from the pistol tube. The variation is quite unimportant.