Now, the drawer-box is an article of such peculiar handiness on so

many occasions, that the temptation held out to beginners to use

it frequently is too great to be resisted. It will bear a cursory

examination, and yet, although crammed with any kind of article to its

fullest extent, it is made to appear quite empty, by merely being shut

and re-opened, and this in the midst of the audience; or the operation

may, with modifications, be reversed, and the box shown first empty,

and then full.

Most of us must have seen the little cigar-case which is so handy to

smokers who wish to keep a good brand of cigar to themselves. The

drawer-box is made on exactly the same principle as this, only, of

course, in an enlarged form, and in wood.

[Illustration: FIG. 51.]

[Illustration: FIG. 52.]

The appended sketches (Figs. 51 and 52) show the apparatus. I give a

minute description of it here, as it is only in very large towns that

the article is procurable, made in the manner it should be, so the

conjuror can either get a cabinet maker to make him one, or, if he be

anything of a carpenter, make one for himself.

A (Fig. 51) is a lightly-made drawer, without any back end, and

fits somewhat easily into F (Fig. 52), which should be made of

3/8in. stuff, and strongly put together. B is another lightly-made

drawer, smaller than A, into which it fits. A has a narrow combing all

round the upper surface of the front end and sides. This serves to

conceal the presence of B, which in reality looks like the inside of

A. To perfect this deception, the open sides of A are, as depicted in

sketch, made with mortises, and the end of B being allowed to extend

a little each side, and also mortised, the two dovetail one into the

other, and present a most innocent appearance. The knob D is not

fixed, but has a slight perpendicular play. It is connected with a

piece of flat metal, which extends from the knob to the upper portion

of the wood, inside the combing, where it is furnished with a catch,

which can be made by turning over the end of the metal and sharpening

it a little. In B there is a slight incision made at C. When B is

pushed home into A, and the knob D pressed downwards, the catch fixes

itself into C, and thus keeps the two drawers firmly together. The

action of shifting the knob up and down is very slight indeed, a

1/4in., or, at the outside, 1/3in. play being ample. When the two

drawers are thus fixed, they may be shown round, and no one not in the

secret will suspect that there is more than one drawer. The more care

and attention that is paid in fitting the drawers nicely together, the

better.

At the lower part of the back end of B will be noticed a protruding

piece of wood, E. This fits closely against A when the two are closed

together, but it plays an important part in the working of the box.

In the body, F (Fig. 52), is cut a square hole, immediately under

the point where the thumb is seen to be pressing. G is a flat spring

let into the bottom of F, and fixed at the end farthest removed from

the square hole. A square piece of wood, the same thickness as the

bottom of the body F, and slightly smaller than the hole, is glued

firmly on the free end of the spring, so that it is always in the

hole. The exterior of the box should be painted or French polished,

and the bottom covered with baize or cloth. The material should be

glued on, the space covering the spring, and half an inch all round

it, being left free. The apparatus is then ready for use, and is thus

"worked": We will suppose that it is required to cause several apples

to disappear. The drawer A, with B inside it, and the knob pressed

firmly down, is shown in one hand, and the body F in the other. The

apples are then put into A (really into B), which is then pushed into

F. After the performer has pretended to extract the apples by magical

means, he takes up the box with both hands, one hand grasping one end,

with the thumb on the spring G (Fig. 52), and the other hand seizing

the knob D, which it presses upwards, thus removing the catch from the

slit C. With the thumb pressing as hard as possible on the spring,

the drawer A is pulled out. The square piece of wood on the end of

the spring G, being pressed inside the box, causes an obstruction to

the inner drawer B through the medium of the protrusion E, and B is

consequently held back in F. The drawer A, which is, after all, merely

an outer shell, is shown instead, and the audience, not knowing of

the existence of a double drawer, imagine that the one shown them is

the one which they saw filled with apples. When the box is opened, it

should be held sideways, with the top turned towards the audience,

and when it contains such articles as apples, which easily shift in

a very audible manner, it should be placed in this position on the

table, before the contents are made to disappear. It would be stupid

to pull out an empty drawer and then cause a rumbling to be heard. The

audience would at once divine that the articles were kept back in the

body of the box by some means.

When the box is made so large that the hand cannot grasp it in the

manner shown at Fig. 52, the closed end should be furnished with

a knob matching that on the drawer A. This can then be held by the

fingers, and so enable the thumb to find a purchase.

A very good box is one made without the spring acted upon by the

thumb. In its place is a loose metal peg, which drops in and out

of the hole in the double drawer by the mere tilting of the box.

This style of box is best made with both ends of the cover open, an

increased appearance of innocence being thereby secured.

With such a handy article at command as the drawer-box, which will

vanish or produce anything at will, it will be easily understood that

the beginner is extremely likely to be tempted into using it with

too great a frequency. Let him beware of this, and, at the outside,

use it not more than twice in the same evening, and then only under

completely differing conditions, and after the lapse of a good

interval of time. In a number of the foregoing tricks the drawer-box

could be used with success, I grant, but not with any very great

effect. In the trick with the large die and the handkerchief, it would

be handy for causing the die to vanish. It could be used in _The Sun

and Moon_, _A Bottle of Ginger Beer_, and in a dozen others, but the

temptation to do so must be resisted.

Popular usage has assigned the drawer-box the position of a regular

"property" in a very effective trick performed with a large solid

block of wood, familiarly known as the Cone. It can be made of any

size, but it is as well to have it as large as possible, that is,

not less than 6in. in height. When large, it is just as easy to

manipulate, and is much more effective. The only desideratum is that

it should go comfortably into the drawer-box. It should be well

tapered from the base to the summit, which may be simply flat or

fancifully turned. Over this block fits a thin shell, the _facsimile_

of it--the die and dummy repeated, only in a different shape. The

dummy shell is usually turned out of a piece of wood similar to that

of which the block is made, and both are polished to match. It is

essential that they be very smooth. All else that is required is a

very tall paper cone, which passes very loosely over the shell, and

a couple of apples, oranges, lemons, or any similar articles, both

being placed on the shelf. The drawers, fastened, should be taken out

of the body and stood upon it at one end of the table, and the cone,

with the shell on it, at the other end. The performer next takes the

paper cone and exhibits it. He then says, standing behind the table,

"This cover, which is, as you see, made simply of paper, is for the

purpose of covering this solid block of wood." The paper cover is

passed over the cone and shell, which are grasped firmly with one hand

and slid off the table on to the other hand. The shell is then grasped

a little higher up, through the paper, and the solid block jerked out

of it on the floor. The paper containing the shell cone is then laid

flat on the table, with the closed end towards the audience, and the

solid cone picked up and placed in the drawer, which is first shown

briefly round. The drawer-box is closed and placed on a side table

to the left, and the performer, passing behind the table, takes up

one of the two articles which are upon the shelf. This he produces in

any way he pleases, taking it from the wand being the most effective

method (see "Sleights for General Use"). He should then say that he

requires an orange, &c., for the trick, which he will ask his wand to

give him. The orange, or whatever it may be, is then placed upon the

table, and covered with the paper cover, with the dummy cone inside

it. The performer then explains that what he is going to do is to

cause the solid cone to come out of the box and pass into the paper

cover. Whilst saying this, he goes behind the table and secures the

second of the two articles that were on the shelf, in the right hand.

He then comes round, and proceeds: "To do this, it will be first

necessary for me to remove the orange from the paper, and I accomplish

the feat in this manner." (He runs the wand lightly up the side of

the paper, and then produces the orange out of it, the action being

somewhat similar to that used in the previous production.) "Now that

the cover is empty, I can pass the block of wood into it. I take it

out of the box, thus" (taps box with wand), "and, see, it is on my

wand. I carry it carefully to the cover and pass it thus into it." The

wand is carried very gingerly, in a horizontal position, as if the

block of wood were really balanced upon it.

The paper is then taken by its very apex, and lifted carefully off the

dummy shell, and the drawer-box opened, as previously explained for

showing it empty. The performer, after a short pause, to allow of the

free circulation of universal wonderment, says, "Ah! but perhaps I

did it a little too quickly, and you did not notice how it was done.

I will do it in a different way. Here we have the piece of wood,

which I cover with the paper; my box, empty, I shut and place here,

and the orange I take in my hand, thus" (trap it), "and rub it slowly

away. I command the block of wood to pass back again into the box,

and the orange to appear under the paper cover." Lift the paper and

dummy together, pinching them at the base, and lay them down as before

directed, and then tilt out the drawer, allowing the wood to fall

upon the floor. If the cone be not very large, then the dummy may be

allowed to slide out of the paper cover on to the shelf, and the paper

shown empty.

There is an objection to having the dummy shell made of wood, which

is that it is necessarily very light, and so easily overturned. An

accidental stumble against the table will sometimes effect this

untoward result. Zinc and tin are heavier, but there is an objection

laid against them as well: they "talk"--that is, they make a scraping

noise against the real block of wood when withdrawn from it. I leave

the conjuror to decide which is the lesser of the two evils. Cones

standing two or three inches in height can be successfully passed

through hats, after the method employed in Houdin's die trick.

Further uses for the drawer-box will appear in the course of the

description of other tricks.

_Bacchus' Dovecote._--The performer advances with a bottle and

glasses on a tray, and a dove on his shoulder. From the bottle he

pours some wine, and then places it upon a side table. The dove

is next wrapped in some paper, from which the tail is allowed to

protrude, and the performer then jumps upon it or else burns it. On

the bottle being broken, the dove is found inside.

The bottle is prepared by having the bottom knocked out, which can

be easily managed with a hammer, smart taps with which have to be

administered, in a circle. The hand holding the bottle whilst this

is being done should have a glove upon it, in case of a breakage. A

dove is put into the bottle, head first, through the bottom. This

is rather uncomfortable for the bird, and I cannot bring myself to

think that the latter likes it; but no bad results seem to follow

the treatment, which should be rendered as gentle as possible. A tin

tube is passed down the neck of the bottle, secured at the mouth by

means of red sealing-wax, and then filled with red wine. On the table

are spread some sheets of paper, on the margin of one of which are

pasted some dove's tail feathers. The exhibited dove is placed upon

the centre trap, and the performer pretends to wrap it in the paper

having the feathers upon it. It is, instead, passed through the trap,

and the paper rolled carefully up, as though the bird were inside.

The protruding feathers leave no doubt of this in the minds of the

audience. The ends of the paper should be screwed up tightly, and

a little hole torn in the parcel, "to give the dove air." If, when

placed upon the floor or table the paper should accidentally roll

slightly, the performer must attribute it to the restlessness of

the bird supposed to be inside, and apostrophise it accordingly. If

crushed, it should be treated lengthways, so that the feathers are not

afterwards observed, or the audience might think it only reasonable

that the bird found inside the bottle should be _minus_ a tail if he

has left it behind him in the paper. It may seem very simple on their

parts, but audiences never seem to doubt that the dove apparently

wrapped in paper and the one found in the bottle are one and the

same bird. There is no distinguishing mark on it to identify it, and

everything tends to make one think otherwise; but never a doubt is

raised. This circumstance should be very consoling to the conjuror.

I have even seen two doves put into a drawer-box and two other doves

made to appear at the other end of the room, and no one seemed to

doubt for a moment that they were the same ones that had been just

before put into the box.

Doves are most docile creatures, and accommodate themselves to

circumstances in a remarkable manner. When passed through a trap, they

never wander about and exhibit themselves at the corners of the shelf,

or otherwise expose the performer's secrets. At times, though, they

will start their peculiar call, but this happens very rarely. Most

regular performers, whether professional or not, usually keep a pair

of doves at least. They are very hardy, and soon become accustomed to

being pulled about.

_The Wine-drinking Crystal Ball._--The tube in the neck of a

bottle, mentioned in the preceding trick, is a very effective and

much-practised deception. In the present instance, the performer

selects an opaque bottle with a deep "kick" in the foot, and has a tin

tube fitted into its neck. The mouth of the tube is provided with a

rim turning outwards, to prevent a total disappearance of the article

inside the bottle. This rim should be nicely rounded, so as to fit

the mouth of the bottle neatly, as it will not do for the audience

to entertain the slightest suspicion of its presence. The bottle

is three-parts filled with water, and the tube with red wine. The

performer is provided with two clear white glass balls, a little over

an inch in diameter, and one red one, of the same dimensions. These

are concealed conveniently about the person. The trick is commenced

by the wine being poured into glasses and handed round. Retiring to

the table, the tube is extracted and "vested," or put elsewhere out

of sight, and one white ball got into the hand. By means of the wand,

this ball is magically produced. The performer then remarks that

he wants two balls, and manufactures another by striking the one he

has in the hand with the wand; the explanation given being that the

original one has been cut in two. The reader will understand that the

second white ball has been got down from concealment, and exhibited at

the proper moment. Two balls are not really required for the trick,

but the diversion is made for the sake of increasing the attention of

the audience, and for giving the trick a general completeness. If he

so pleases, the performer can proceed to rub one of the balls until

it becomes as small as a pea, or as large as an orange: all that is

required is to be provided beforehand with balls of the necessary

sizes. The ball which is supposed to be undergoing the compression

or expansion can be easily palmed in the right hand, the fingers of

which are engaged in shaping the latest arrival by rolling it in the

palm of the left hand. To get it back to its original size from the

tiny one, the small ball has only to be concealed between the roots

of the third and fourth fingers (Fig. 25). To get it back from the

large size, place the large ball upon the table over a trap, and,

after admiring it as a splendid production on your part, pretend to

take it in the hands, trapping it. After much hard squeezing and

rubbing, accompanied by expressions of doubt as to the success of your

exertions, all enacted close to the audience, the original ball will

be produced, it having been, of course, palmed the whole time. Give it

to a spectator to hold, and then fetch the bottle. Whilst retiring get

down the coloured ball and introduce it into the "kick," where keep

it by means of the little, or any other convenient, finger. With the

bottle in the left hand, return to the audience, and, taking the white

ball from the person holding it, palm it at once, retiring a few steps

as you do so, holding the fingers as though they contained the ball.

If the palm be kept upwards, there is no fear of the ball slipping out

of it, which it possibly might do--it being an awkward thing to hold

firmly--were the fingers turned downwards. Explain that you are about

to throw the ball into the air and catch it in the bottle. As the ball

is considerably larger than the mouth of the bottle, this announcement

will naturally be received with incredulity. You, however, with the

hands as widely separated as possible, toss an imaginary ball into the

air with the right hand, and affect to catch it in the bottle with

the left. A vigorous shake given to the bottle will cause the ball

held in the foot by the left hand to rattle, and the illusion of the

catch will be perfect. Now say that, having got the ball inside the

bottle, you must break open the latter in order to get the ball out,

and turn round, feigning to look for a hammer. This will give you an

opportunity for concealing elsewhere the ball in the palm. So soon as

this is done, say, "Well, perhaps I shall only make a litter with the

broken glass; so I will get the ball out in a more artistic manner.

Whilst I am talking, though, I fear the little gentleman inside is

making very free with the wine." Ask the ball how he is getting on,

and advise him not to drink too much, &c., and then proceed to get

him out of the bottle by striking the palm of the right hand on the

mouth of the latter with considerable force. At the third blow or so,

release the ball in the "kick," and it will fall to the ground with

the appearance of having been forced through the bottom of the bottle.

Call attention to the fact that it is red, and consequently, as you

feared, must have been drinking the wine. To test this, pour out

the contents of the bottle, which, being pure water, will cause the

audience to be of your opinion, ludicrous though it may appear. After

this, hand round both bottle and ball for inspection. It is a great

mistake to omit showing the bottle, as the audience is invariably

impressed with the idea that it has an opening in the bottom.

Instead of the imaginary catch, the bottle can be stood upon a table,

and the ball passed into it by any ordinary "pass." The disadvantage

attending this is that the ball is not heard to fall into the bottle,

as in the other method. It is natural that a heavy ball falling into

a bottle must make some noise on striking the bottom. Audiences,

perhaps, are not sharp enough to remark the absence of this natural

result, but there is no denying that the trick is rendered more

complete with its addition. Besides, when placing the bottle upon a

table, the ball in the "kick" would naturally be loose were not some

method for preventing this to be adopted, and it would become a matter

of great difficulty, if not an absolute impossibility, to raise the

bottle again without revealing the real state of affairs. A little

black wax in the apex of the "kick" serves to sustain the ball in a

very satisfactory manner; but, in adopting this auxiliary, one has to

dispense with what I consider to be a most necessary feature in the

trick, viz., giving the bottle round for examination afterwards. The

wax will tell an undeniable tale.

It is possible to vary this trick in many ways, quite according to the

fancy of the performer. It is well, however, to be certain of palming

and vanishing your ball quickly and neatly before attempting the trick

at all, as everything depends upon this. If the white ball is observed

to be still in your palm, no amount of rattling in the "kick" of the

bottle, however seductively executed, will convince an audience that

it has passed into the bottle.

_Bacchus' Maypole._--I do not mind admitting to the reader that,

where my imagination will permit, I am inventing new names for my

tricks. I do this in order to save those who may hereafter undertake

performances a certain amount of trouble, and also to get a little out

of the beaten track. Ever since this trick has been invented it has

been known as "Ribbons and Bottle." Now, that is a very poor title

to put upon a programme, which, as it cannot possibly give any very

valuable information to the spectator, may as well be embellished

with neat terms as slovenly ones. A bottle and some ribbons certainly

are used in the trick; but, as the old title does not reveal whether

the ribbons go into or come out of the bottle, or whether the bottle

comes out of the ribbons, a more fanciful one, so long as it is near

the mark, seems just as appropriate, and much more ornamental. At the

same time, it is very unadvisable to fill a programme with outrageous

and ridiculous titles. I went to an entertainment once, given by a

gentleman afflicted with a liking for high-sounding titles. At first

I thought I was going to see something totally new, and waited for

the curtain to draw up with some impatience, for the first item on

the programme was thus designated: "The Celestial Mystery; or, the

Winged Fairies of the Emperor Foo-Chow." This was the butterfly trick.

However, although greatly disappointed, I kept up my courage, for item

No. 2 was "The Sorcerer's Secret; or the Sheik's Visit to the Great

Mogul." The egg bag! I collapsed, and took no further interest in the

"Arabian Necromantic Divinations," "Scandinavian Second Sight; or,

the Finnish Seer," &c., for they were all tricks of the most ordinary

class. Let the performer, by all means, embellish his programme with

well-chosen titles; but let him, at the same time, steer clear of

the other extreme. Experience teaches one that there is more in a

programme well got up than at first meets the eye.

Although there is rather more of mechanism, and less of sleight of

hand, in it than I usually adopt, still this is such a very pretty

trick that it would be a pity not to mention it. The performer comes

on with a bottle, from which he pours a quantity of wine, beer, or

other liquid, and then, either still holding it in his hand, or

placing it upon a table or chair, he draws from it a ribbon of any

colour that may be asked for by the audience. More liquid is poured

out, and more ribbons produced.

The secret lies in the manufacture of the bottle. In most cases, an

imitation one of blackened tin is used, but, as the difference between

a metal bottle and a glass one is easily discernible, this is a bad

principle. The best method is to procure a tapering bottle, quart

size, and opaque, and get the bottom neatly cut out by a lapidary. If

the glass be semi-transparent it is easily rendered opaque by being

painted with Brunswick black on the inside. Into the bottom fit a

block of wood nearly an inch thick, the upper half of which has been

turned away half an inch, so as to form a step. To this step have

fitted a long tin funnel of such a length that, when the block of wood

is fitted into the bottle, the small end will be within the third of

an inch of the mouth. This funnel is much smaller than the interior

of the bottle, so that when it is in position there is space for a

considerable quantity of liquid between it and the glass sides. The

small end is closed up with a piece of metal, which is provided with

a number of slits, each large enough to admit of a ribbon passing

through it.

On the block of wood arrange as many tiny reels as it will take. It

will be necessary to do this in tiers. There is no reason why they

should be like the ordinary reel, for the smaller they are the better.

Each of these reels carries a differently coloured ribbon, which has

been previously passed through one of the slits at the closed end of

the funnel. It will be discovered that it is not possible to wind them

up quite tightly, but an inch or two hanging loose will not signify

if care be taken not to cross the ribbons in any way. That end of

the ribbon which appears outside the slit must have a piece of wire

sewn in it, to prevent its going quite through. With the block thus

prepared, and the funnel fitted firmly upon it, put the whole into

the bottle, and then pour the liquid carefully down the sides of the

funnel, taking care not to let any get in through the slits.

Having poured out a little of the liquid, for the benefit of the

company, say that you are now going to ask the bottle to give you a

colour, and request the audience to say which particular one it shall

be. Of course, some half-dozen, at least, will be given by as many

persons, which is all in your favour, as you may then choose which you

please, or, more properly speaking, not notice any extraordinary one

with which you may not be provided. Some clever person is sure to

rack his brains for some impossible colour, but, as you will take no

notice whatever of him, it will not matter much. Each time a colour is

asked for, turn to some object of that particular hue, and pretend to

convey some of it on the end of the wand to the mouth of the bottle.

There is nothing in this, perhaps, but it gives an air of finish to

the trick. Snatch up the bottle every now and then, and pour out some

liquid from it, and also call attention in an indirect manner to the

fact that the ribbons are perfectly dry. Also tap the bottle once or

twice with the wand, for the unexpressed purpose of showing that it is

glass, and handle it generally in a careless manner, swinging it about

by the neck, taking care, however, not to expose the bottom. This

makes a very effective stage trick.

A second method, which the reader is not at all likely to have seen

performed, seeing that I invented it myself, enables the conjuror

to employ an ordinary glass bottle, having no preparation whatever

about it. It should be a dark bottle, so as to be quite opaque at a

distance. The bottle is shown for examination, and placed upon a low

table or chair, and the performer extracts coloured ribbons, just as

they are called for. As the bottle has been examined, no necessity

exists for occasionally pouring out liquid from it, which is a dumb

way of saying that the bottle is an ordinary one. Secreted beneath the

vest band, the performer has his rolls of ribbon arranged. They may be

either upon bent pins, stuck in the vest itself, or the performer may

have a band, fitted with wire hooks, which may be buttoned on in a few

moments. As the ends of the hooks or pins are towards the performer's

body, the ribbons cannot fall off; but the ends of the fingers,

curled slightly underneath, obtain them at once. The colours must be

arranged in a certain order, which the performer will, of course, have

to remember, and he must depend entirely upon his sense of touch.

Directly the colour is named, the performer commences to seek for

some article of furniture or dress containing it; and whilst the wand

is extended towards the object, for the purpose of magically bearing

away some of its colour, the other hand is getting down the ribbon,

that side of the body upon which it is secreted being turned from the

audience. Proceeding to the bottle, the wand affects to place the

colour magically obtained into the bottle, and, as soon as the other

hand has secured the loose end of the ribbon, it is brought to the

mouth, and the ribbon allowed to unroll. A tiny piece of lead, sewn

in the end, will assist this greatly; but the ribbons should always

be kept flat, except when in actual use, otherwise they will assume

a curl, which will betray the fact that they have been rolled up. If

symptoms of curling manifest themselves, the wand should be held at

the mouth of the bottle and pressed against the ribbon as it comes

out, and it should be then taken in both hands and held stretched

until placed upon the table.

By adopting this method, the performer is enabled to produce a very

great number of colours; and it is advisable to have two or three of

them twice over. However well the trick may be performed with the

prepared bottle, the company instinctively feel that a certain number

of ribbons are concealed somewhere or other, and that when they are

once produced no more can come. By producing the same colours twice,

the notion of an inexhaustible productive power is conveyed.

There is a third method, which can only be employed on a regular

stage. The bottle is a specially constructed glass one, that part

which is known as the "kick" extending upwards to the neck, and having

a hole in the top. Thus there is still space left in the bottle for

plenty of liquor, whilst there is an open passage up the middle of it.

This bottle is placed over a hole in a table having a hollow leg (a

small, single-legged round table is invariably used), and the ribbons

are passed up on the end of a rod by an assistant below. By this

method, an endless supply can be taken from the bottle, but few of my

readers will, I fancy, be able to adopt this method, although it could

be done over a draped table under which a small boy was secreted for

the time being. When the performer advances to the bottle he gives out

the name of the colour very loudly, and places his fingers over the

mouth, at the same time pressing hard, to prevent the bottle being

shifted by the action of the ascending rod. The assistant below has

his ribbons arranged in order, and, as soon as he hears the colour

given, attaches the proper one to the pin at the end of the rod. When

the performer is quite ready he strikes the bottle with the wand,

upon hearing which, but not before, the assistant pushes up the rod.

He must be in no hurry to withdraw it, but give the performer plenty

of time to clear the ribbon. A suitable bottle may be manufactured by

knocking the bottom out of an opaque glass bottle, and then fitting a

tin lining to it, inside, which can be fixed and rendered watertight

by means of putty, afterwards blackened, if white putty be used. The

bottle is occasionally taken up, and liquor poured from it, as in the

first method.

_The Accommodating Bottle._--This is a bottle from which the

performer pours any kind of wine or spirits that may be asked for.

The secret, as in the foregoing trick, lies in the bottle, and it

is only introduced here on account of its remarkable effectiveness

in clever hands. The interior of the body is divided into a number

of compartments, usually five. Each compartment has a tiny tube

running from it half way up the neck of the bottle, and has also an

aperture, just capable of admitting an ordinary pin, at the side

of the bottle. Four of these apertures should be arranged an inch

apart in a slightly curved line, so that one finger can be placed

upon each when the bottle is grasped in the hand. The fifth aperture

should be situated underneath the thumb. It is possible, but very

difficult (owing to the absolute necessity for having the partitions

hermetically closed, except at the tubes and the apertures), to have

an ordinary quart bottle, with the bottom knocked out, fitted with a

tin lining, properly prepared. When this can be done, it is decidedly

advantageous; but, in the ordinary way, one has to be contented with a

tin article, japanned.

By means of a specially fine funnel, each compartment is filled with

a different wine, and great care must be taken in remembering which

contains the port, which the sherry, and so on. So long as the fingers

and thumb are kept firmly pressed upon the apertures, no liquid

will escape, even when the bottle is inverted, as it will be by the

performer, previous to commencing, to show that it is empty. Some

bottles have an extra compartment, into which water is poured, in full

view of the audience, and the bottle apparently washed out, the water

being poured out again. The adoption of this addition is a matter of

taste. A dozen or so of liqueur glasses upon a tray, and carried by

an attendant, will be required, and, after calling attention to the

fact that the bottle is quite empty, and that he has no pipes running

up his sleeve, the performer asks a lady what particular wine she

would like. It is as well to use the words "port, sherry, or what?"

by way of suggesting something which you have in your bottle to start

with. You will, of course, have champagne, claret, and hock, which,

with the sherry and port, will make about as good a quintet as could

be selected. On any particular wine being called for, all you have to

do is to raise the finger covering the hole corresponding with the

compartment containing the required beverage, and it will flow out;

on replacing the finger the flow will cease. By using small glasses,

one appears to supply so much more than would be the case with larger

ones. Never more than half fill a glass, and always pass as rapidly as

possible from one person to another. Of course, you will be frequently

asked for a wine with which you are not provided. This, in nine times

out of ten, you can manufacture out of your stock. For marsala,

for instance, give a little sherry and hock mixed. For sparkling

burgundy mix champagne and port, or champagne and claret. When you

make a mistake, pretend to be in a great hurry to attend to another

applicant, and accidentally (!) drop the glass on the floor. Never

mind if the glass does break; your trick is not spoilt.

It is wonderful how much success is attained by management in this

trick. In one person's hands, it falls so flat as to be almost a

failure; whilst, in another's, it will probably be the success of

the evening. It is especially successful in the hands of a brisk and

lively performer, before, or rather amongst, a large audience of a

free and easy nature. It is not a good trick to introduce before a

select and stiff company. Should any particularly fastidious person

be met with, he can generally be settled by the administration of a

mixture of the whole five wines. If he is still dissatisfied, ask him,

if the beverage is not the one for which he asked, to say what it is.

It will puzzle him to answer, and you will then be able to retaliate

upon him by supposing that he does not know the taste of the wine for

which he was so anxious.

Some first-rate continental conjurors, who, as a rule, take infinite

trouble with their tricks, perform this trick with an ordinary

bottle, which, after being examined, is filled with sweetened water

(ostensibly plain water), and then any liqueur is given from it. The

secret in this case lies in the glasses, which are coloured, and

contain each an extract of a certain liqueur. The sweetened water

answers for all. By this means, it is possible to be provided with an

immense number of flavours, but the trouble in preparation is such as

only a professed conjuror could undertake.

_The Mesmeric Suspension Wand._--The Fakir of Oolu (he is known in

private circles by a far less sounding and much more cockneyfied name

than that) was the first to introduce this trick to the British public.

The performer is provided with an ordinary conjuring wand, blackened

all over. He passes it through one hand, to show that it is not

attached to any suspending medium, and then performs a series of feats

with it, which apparently entirely upset the laws of gravitation.

For instance, when placed horizontally against the under side of the

outstretched hand, it does not, as one would expect, fall at once

to the ground, but remains in the unnatural position. When placed

perpendicularly against a finger or thumb, the result is the same;

and it can be just as easily suspended from the tip of the finger by

its extreme end. There are three methods in general use for producing

these phenomena. One is to have the rod provided with several black

pins, which stand out a little from the wand, and are then bent at

right angles. The heads are taken off, and the exposed ends left

rough. If two of these pins be placed about five inches apart, with

the points of each turned towards the other, a hand placed flatly

between them will be enabled to sustain the rod in any position by

merely opening out the fingers, thereby causing a pressure on the

two pins. This is the whole secret of the first method. The conjuror

can arrange his pins according to fancy. I find five ample viz., two

about two and a half inches apart at each end, and one small one at

the actual tip. There is no necessity for more; and the space of two

and a half inches admits of the introduction of two fingers, which

possess quite sufficient power to sustain the rod. The advantage of

using two fingers only is that, by employing the middle ones, those

on the outside are left free to be moved about, as they should be, to

assist in abolishing the idea of any connection existing. When the

wand is drawn through one hand, the action must be quickly executed,

and no notice given of the intention to perform it, otherwise the

attention of the audience will be sufficiently attracted to the wand

to cause it to be noticed that the hand does not actually touch it,

although it appears to do so. A serious pantomime of mesmerising the

wand by means of a few passes may be indulged in with advantage,

according to the ability of the performer in this direction; but he

must treat it seriously. If it is at all well done, one half of the

audience will remain almost convinced that some influence has been

exercised over the rod. The wand should then be taken in one hand, and

struck smartly on the palm of the other, to show that it is solid,

or it can be done previous to the mesmerism. This is very necessary,

as a universal idea exists, amongst those who do not know the trick,

that the wand is made of pith, and that the performer has some "sticky

stuff" on his fingers. It should next be held horizontally at the end

by one hand, and the other passed slowly along it once or twice, the

motion becoming slower and slower until it ceases altogether. The

fingers will then be between two pins, and, on the rod being released

by the other hand, it will apparently cling to the under surface of

the one above it. To cause it to attach itself to a finger or thumb

perpendicularly, it is only necessary to hang it by one pin on the

outstretched member, and the prodigy is accomplished. The pin at the

tip is for the purpose of suspending the rod from the end of a finger.

This is accomplished by pushing the pin under the nail. No trick could

be simpler; therefore the performer must do all he can to make the

audience believe in its extreme difficulty. Once or twice, at least,

the mesmeric power should fail, and fresh passes resorted to in order

to restore it. An effective action to introduce is that of placing

both hands above the wand whilst it is in a horizontal position, and

then appearing to move them backwards and forwards along it. This is

accomplished by fixing the fingers of one hand only in the pins. The

hands are then parted, and joined twice with considerably rapidity.

The disengaged hand must not alone be moved, but the other as well,

otherwise it will be seen that the wand is affixed to one hand, and

the other merely moved along it. The care taken by the conjuror will

make this trick the more or less successful.

The second method is to have a ring upon the finger provided with a

clamp, which receives the wand in its embrace. The only thing to be

said in favour of this device is that it enables the wand to be shown

round. In all else it is vastly inferior to the bent pin arrangement.

The number of positions in which it is possible to suspend the rod

are exceedingly limited, and the probability of the ring being

accidentally exposed is by no means remote.

As it is decidedly advantageous to give the rod round for examination,

it is always well for the performer to devise a method for handing

round one rod, free from any preparation whatever, and then exchanging

it for a prepared one. This is, perhaps, best managed by concealing

the prepared one up the coat sleeve. The one that is shown round is

dropped into the tail pocket, which can be specially arranged for such

a use without much difficulty. The change behind the table is weak,

and a large majority of the audience invariably see through it, in

which case all the performer's subsequent actions with the article are

looked upon as farcical. When a dummy article is to be exchanged for

a prepared one, the change must be perfect, or left alone altogether.

If the performer have any doubt about it, let him rather dispense

with the examination and consequent exchange, for then the audience

can only suspect; but, if any covert action is detected, then the

suspicion resolves itself into a tolerable certainty.

The wand for this trick is very easily made, any ordinary wood being

suitable, and a packet of black pins, a pair of pliers, and a file

will do the rest. It is best as a stage trick, private audiences in

small rooms being somewhat too close for safety.

There is, however, a third method, which I think the reader will,

after giving it a trial, find commend itself highly, as it enables

him to use his ordinary wand, and so avoid the suspicion naturally

engendered by the employment of a fresh article expressly for a

special trick. Our old friend, the silken thread, is once more the

means employed, and it may be either passed round the performer's

neck, in the form of a large loop, or be affixed to a waistcoat

button. Experiment will at once determine the proper length, which

will naturally vary with the physical proportions of each performer.

The wand is, of course, given round for examination, and may be passed

through the loop whilst the performer is facing the audience, although

it is, perhaps, the safer way to do this whilst retreating to the

stage. It will be found that when the thread is stretched outwards

from the body by means of the wand, acted upon by the hands, it

supports the wand by drawing it hard against the fingers. At first the

wand is taken in the two hands, one near each end, and held out very

gingerly. When the thread is felt to be tightly stretched, the fingers

are opened, and it is as well to at once give a swinging motion to

the hands. The hands should then be drawn together and parted again

two or three times, both slowly and fast, a slight swinging being

still kept up, and then two or three, or single fingers can be

employed, as may the sides and backs of the hands. These movements

will necessitate some little practice, in order to ensure facility of

execution. When enough has been done by two hands, one hand should

be placed in the centre of the wand, the thread passing between the

fingers, when the wand will be just as securely supported. The hands

should be changed, the one hand taking the wand from the other, from

beneath. The _finale_ to this method of doing the trick is the most

startling of all, the wand being suspended by one end from the tip of

a finger, and from thence given to the company. To bring this about

neatly, grasp one end of the wand with the right hand and place the

tip of a finger of the left hand against the other end. Let the wand

assume a perpendicular position, the right hand undermost, and, at the

same time, cause the thread to slide along until within a bare inch

of the finger at the other end. If the wand be fitted with ferrules,

as directed, the thread is certain to rest at their terminations.

The pressure of the finger against the resistance of the thread,

delicately dispensed, will cause the wand to be supported, and with it

in this position the performer advances to the company, and, with the

right hand, places it in their hands, a very slight under sweep, quite

compatible with a graceful presentation of the article, sufficing to

free it of the slight tenure the thread holds over it. As the Fakir's

wand has been on sale for very many years, there will probably be

amongst the spectators some who know its secret. With these the method

now described will be most successful in creating astonishment, for it

will be quite beyond them.

[Illustration: FIG. 53.]

A little additional sleight may be practised, which gives finish to

the trick. This is to cause the wand to apparently attach itself to

the tips of the outstretched fingers of one hand. To the spectators,

it appears as if the fingers were merely outstretched, and the wand

placed against them, when it adheres. It is quite true that only the

tips of the fingers touch the wand, but they must be so disposed that

the first and fourth are on the inside, and the second and third on

the outside. The theory of the grip is the same as though the wand

were held between the four fingers, an inch or more down them. What

the conjuror has to study is to bring sufficient pressure to bear

by means of the tips only, the nails of the first and third fingers

resting against the wand. The hold is really of the most fragile

description, only one longitudinal half (the inside one) of the wand

being operated upon. A strong and rather fleshy finger will succeed

best, but, in any case, the first and fourth fingers must be stretched

out as wide as they can be made to do, and the whole operation will be

very materially assisted by using a wand that is neither heavy, thick,

nor slippery. An unvarnished wand would be the best, and it should be

as much less than half an inch in thickness as can be made convenient.

Weight will then be comparatively immaterial. The performer will find

the effect of his trick wonderfully enhanced if, in handing the wand

from one member of the company to another, he does so by means of the

apparently magnetic tips of his fingers. The sleight is illustrated at

Fig. 53.

_The Magi's Brazen Rod._--This is a solid brazen rod, one quarter of

an inch in thickness. At each end is a brass ball, free (whether solid

or not) from any preparation whatever. One ball is firmly fixed, and

the other screws off and on. Some ladies' rings are borrowed, and a

solid wooden ball, which is subjected to examination, is then passed

on the brazen rod, and the movable brass ball screwed on. The ball

ends are then held firmly by two of the audience, and a handkerchief

spread over the wooden ball. The performer introduces his hands,

containing the rings, beneath the handkerchief, and, in a moment,

the ball drops from the wand, upon which, on the withdrawal of the

handkerchief, the rings are seen.

There are many variations in the details of the trick; but the one

great secret in connection with it is that, besides the solid wooden

ball which is shown round, the performer has one behind the scenes

that is hollow, and is divided into two equal parts, which fit firmly

together, like a box and lid. In the box portion is fitted a piece

of cork, in which are three slits. Ostensibly to fetch the solid

ball, the performer retires behind, and there rapidly places the

three borrowed rings, for the possession of which at this stage I

shall presently account, lightly into the slits, closes the ball up,

and palms it. Returning to the stage, with the solid ball openly in

the hand, he gives it to be examined. On receiving it back, he has

to exchange it for the prepared one (a feat neither too difficult

nor too easy), which is passed on the rod instead, the solid ball

being vested. The sequel follows as a matter of course. The solid

ball is re-palmed, and secretly introduced under the handkerchief at

the same time as the rings (_i.e._, their substitutes); the hollow

ball is opened, thus leaving the rings alone on the wand, re-closed

and palmed, the solid ball at the same moment being dropped on the

floor. The performer must be careful not to have the wooden balls

larger than is absolutely necessary, or he will find some difficulty

in exchanging and concealing them neatly when occasion requires. They

must be turned with circular grooves, in one of which the opening

of the prepared ball is made, so as to escape detection from casual

glances. The method of obtaining the rings varies considerably. Some

performers put them into boxes with secret openings, and thus obtain

possession of them. The simplest plan, if one has a stage assistant,

is that described under the heading "Sleights for General Use." The

assistant remains on the stage, holding the wand until the rings are

required again. The performer then puts them in a piece of paper,

ostensibly to "take better care of them," but really to make it easier

for him to get rid of them, and they are palmed, along with the dummy

ball, when that is taken off the wand. I have seen it attempted to

place the dummy rings inside the ball before re-closing it, but the

operation took too long by far in execution. If too much paper be

not used, and the rings are small and tightly folded together, it is

possible to pop the little parcel inside the lid of the ball. The

rings could be of such a size as to allow of this. The method for

managing the exchange of the rings depends much upon circumstances.

The one I have given will be found generally applicable, especially as

the trick is essentially a stage one. The handkerchief that is thrown

over the rod should be drawn off smartly, so as to cause the rings to

spin round, by the hand containing the ball just removed from the rod,

which it will assist to conceal. On the completion of the trick, hand

back the borrowed rings on the rod itself, and also show round the

ball again.

There is no reason why this should be an expensive trick. A brazier

could make the rod and knob ends for a very few shillings, and the two

wooden balls should cost about 1s. 6d.

_The Shower of Plumes._--This is a trick requiring a great display

of dexterity, combined with considerable boldness. The performer

produces, from a large handkerchief, enough plumes, each nearly 2ft.

in length, to cover the floor of an ordinary room. The plumes are

rather expensive articles to purchase, but, when once obtained, form

an excellent stock-in-trade. The method for producing them is to

take off the coat, and then, grasping a large quantity by the lower

ends in each hand, replace the coat. The compressible nature of the

feathers enables a dozen or more plumes to be concealed up each

sleeve. Care should be taken that they lie along the back of the arm.

The performer, thus padded, comes on with a large silk handkerchief

in his hands, but contents himself with remaining well at the back of

the stage, and also refrains from turning his back to the audience.

He waves the handkerchief to and fro, to show that it is empty, and

then says that he will try and find something in it. To do this, he

spreads it over one hand, and, with the other, seizes the end of one

plume through it. At the same moment, with a sharp swift movement,

the handkerchief and plume are withdrawn, the underneath hand falling

to the side, assisting thereby in the withdrawal of the plume, and

also keeping the ends of the remaining ones out of sight. The hand

holding the handkerchief is inverted, and the plume will be revealed.

Under pretence of removing this plume, the disengaged hand seizes

another plume through the handkerchief, and withdraws it with the same

movement which casts the one exhibited on the floor. The second one

is then shown, and the process of drawing out another repeated from

each arm alternately, the production of the plumes being made as rapid

as possible, the motive being to bewilder the audience, who, if the

performer does not make any blunder, will never imagine that they are

concealed up the sleeves. It is as well to draw out a couple at one

time once or twice, for the sake of extra effect, and, with the same

object in view, have the plumes of several colours. Some should be

all white, some all red, and others all blue, whilst another variety

can be of two or even three colours. Never attempt to produce a plume

until the handkerchief has fallen well over the arm from which it is

to be drawn, and let the whole trick be executed with great dash.

Sometimes larger plumes are placed round the body and drawn out

from the vest, the handkerchief being spread over the chest for the

purpose. The attendant who picks up the plumes should make the best

show he can with them. Some performers place the plumes in fan-shaped

vases or other receptacles, but the operation hampers the performance

of the trick too much, and also leads to too many undesirable

movements to be recommended. An excellent ruse is to conceal one plume

beneath the carpet, with the end just through a hole or slit in the

seam. The handkerchief is spread on the floor, and the plume produced.

It is undoubtedly a very difficult trick to perform well, but it

produces a great effect.

The trick may be performed, in a small way, by means of ostrich

feathers laid inside the shirt sleeve, the coat sleeve being turned

back.

_The Fairy Flower._--From a large cut-glass vase, having a cover,

cut out a large portion--say, a piece 3in. wide, and extending from

the top almost to the bottom, or foot. Along the back edge of the top

of the table affix a spiral spring of several close coils, the free

end of which should be of sufficient length, and of such shape as to

enable it to extend well over the top of the table. To the extreme

end of it affix a cut rose, camellia, or other showy flower, and then

bend it down until it is out of sight behind the table. A sliding pin,

working in a couple of staples, and having a loop at one end, must be

brought on at the side of the spiral spring, and when the end with

the flower on it is bent back, this pin is pushed across it, and so

prevents it returning to an upright position. A thread attached to the

loop, and passed out at the side, will enable the assistant to release

the spring when desired. The vase is brought on, and the best side

shown to the audience, besides being rung with the fingers or wand

to show that it is sound, and it is then placed in position exactly

against the spot where the spring is affixed, and the cover put on.

The performer then says that he will cause the fairies to place a

flower inside the vase, and commands them to do so. He can either

spread a handkerchief momentarily over the vase, or dispense with

the operation altogether. The attendant pulls the thread, the pin is

drawn aside, and the spring with the flower on it flies into the vase.

The cover is then removed, and the flower taken out from the top, a

strong nip of the nails being necessary to remove it. The assistant,

in removing the vase, bends back the wire and pushes the pin over it.

This trick is usually performed with the aid of a box-shaped pedestal,

on which the vase is stood. Within this pedestal the spring and wire

arrangement, with flower attached, is concealed, the working being

practically the same as that just described; but the reader will,

doubtless, agree with me, that the introduction of a large box is

likely to bring suspicion along with it.

_The Perambulating Bottle and Tumbler._--This is a trick in which

absolute sleight of hand does not appear; but it calls for a certain

amount of finish in execution, and, like _A Bottle of Ginger

Beer_, makes an agreeable change in a programme, both to company

and performer. The performer has a bottle of beer, a tumbler, and

two cardboard covers, which are, in fact, mere cardboard tubes,

open at each end. Beer is poured from the bottle into the tumbler,

and both articles are then placed upon the side tables, and covered

with a cover. After the performance of the usual magical passes,

the covers are removed, when the glass and bottle are found to have

changed places. The following is the ingenious method by which the

impossibility is apparently brought about: Have a tin bottle made,

exactly in imitation of a beer bottle, between nine and ten inches

high, and japanned so as to look like glass at a distance. The bottom

of this bottle is open, but four inches from the lower edge is a tin

partition, dividing the bottle laterally into two compartments. The

upper compartment is for the purpose of containing the beer. Passing

through its very centre, and reaching to within half an inch of the

top of the neck, is a tube about a third of an inch in diameter, or,

at any rate, large enough to take a small funnel. Thus communication

is established with the lower open compartment, by means of the tube.

Then have a second bottle made, also of tin, and japanned to match,

just large enough to pass over the first one. This bottle has no

interior whatever, and is, in fact, a mere shell. In height it need be

only the merest trifle taller than the other, and the tinman should

be enjoined to keep it as narrow as possible, compatible with an easy

fit over the smaller bottle. Each bottle should be decorated with a

flaring beer label, taken from genuine bottles. Needless to say, they

must be precisely similar, and if each has a piece accidentally (!)

torn out of it, sufficiently large to be noticed by the spectator,

so much the better. In the middle of the body of each bottle is cut

a circular hole, nearly an inch in diameter, and fully two inches

removed from the nearest edge of the label. Further will be required

the two pasteboard covers, which may be of any length between twelve

and fifteen inches. These must be made to fit very closely over the

bottles, without actually clinging to them, consequently one will be

larger than the other. Finally, two tumblers, precisely similar, will

be wanted. They must not exceed four inches in height, or they will

not go under the small bottle, on account of the partition there.

Behind the scenes the small bottle has its compartment filled with

beer, and is then placed over one of the tumblers, the large shell

bottle being finally placed over both. Placing the middle finger

through the holes in the bottles pressure is brought to bear upon the

tumbler, which in this way may be lifted with the bottles. The whole,

looking to the audience merely like a single bottle, is thus brought

on, and placed upon the centre table. The two covers are shown, the

performer explaining that they are merely made to cover the bottle.

Suiting the action to the word, he places the large cover over the

bottle, and at once withdraws it, nipping it near the bottom, so as to

bring away the outer shell inside. With the other hand, the smaller

cover is then placed over the smaller bottle, and at once withdrawn.

The company, knowing of only one bottle, will fancy they have seen

both covers placed over it. The large cover, having the shell within

it, must not be laid upon its side, but stood up alongside the empty

one. The performer now takes the smaller bottle in one hand--holding

the tumbler beneath it as well, by means of a finger through the

hole--and the visible tumbler in the other. Beer is poured out until

the tumbler is filled. The performer now says that he does not want

his glass too full, and, replacing bottle on table, places a small

funnel into its mouth, care being taken to insert it in the tube. Half

the beer--neither more nor less--must now be poured into the funnel,

and it of course finds its way into the tumbler beneath. The conjuror

will have to experiment beforehand, so as to discover how much liquid

he must leave in the visible tumbler, and how much he must pour away,

slight marks being made, with a diamond or file, for his guidance

whilst exhibiting. It is highly essential that each glass contains

precisely the same quantity. The visible tumbler is now placed upon

one side table and covered with the large cover, containing the shell.

The small bottle is placed upon the other side table, with the tumbler

still concealed under it, and covered with the small cover. By means

of his wand, an imaginary exchange of the articles is now made, and

the covers are lifted--that containing the shell lightly, so as to

leave the shell behind; whilst that containing the bottle is gripped

nearer the bottom, so as to lift that article with it, exposing the

second tumbler. The general method adopted in lifting the covers is

to take them by the extreme top when the article contained is to be

exhibited, and at the very bottom when it is to be carried away. These

are certainly very safe methods; but they are unnecessarily so, and

afford far too much clue to the spectators. The variation between

the positions of the hand need never exceed a couple of inches. The

height of the upper edge of the body of the bottles the performer may

have indicated upon the outside of the cover. Half an inch below that

line he has only to exert pressure to ensure the carrying away of the

bottle or shell. A little above it he is clear of them, and need not

fear carrying them away by mistake. A variation of two or three inches

is a natural one, and unnoticeable. Poor conjurors, too, always treat

a cover containing anything in a far too gingerly manner. An empty

cover they flourish about with extreme recklessness, exhibiting the

interior freely; but, a few moments later, they carry the same cover

about as gingerly as one would a very lofty and quivering tipsy cake

or jelly. Spectators cannot but notice this sudden change from extreme

freedom to plainly-depicted trepidation, and generally draw very

correct conclusions. The conjuror should practise to be as free and as

_nonchalant_ as possible with articles that are really mysterious, and

study carefully how far he may go without exposing any secrets. In the

present instance, the cover containing the shell should be flourished

about a good deal, and finally placed over the tumbler in a careless

manner.

The change made, the performer will of course offer to do it again,

"in order to give everyone a chance of noticing how it is done." He

may pretend to give his spectators some assistance by telling them,

in confidence, that the tumbler and bottle really came out at the

tops of the covers, his original statement, that the openings were

there to prevent suspicion, being untrue, their real purpose being

to afford easy exits and entrances for the articles. The articles

then make a return to their original positions, after the covers have

been replaced, the shell being carried away, and the bottle allowed

to remain. The feature of the trick, which completely mystifies the

company, is the transposition of the beer-containing tumbler. The fact

that the bottle has been nearly inverted, in the act of pouring out

the beer in the first instance, precludes the idea that it could ever

have been concealed in that. Although beer is here mentioned, claret

or claret and water may be used, or any other showy liquid at hand.

_The Magic Omelette._--This is a very favourite trick. The performer

borrows two or three rings, which are cast into an omelette pan.

Eggs are broken into the pan, and spirit added, and lighted. A cover

is momentarily placed over it, and, when removed, all traces of the

omelette have vanished, two doves taking its place. This would,

perhaps, not be so very extraordinary were it not for the fact that

around the birds' necks are pieces of ribbon, having upon them

the borrowed rings. Such a trick may well be admired. It is thus

performed: The pan, about 10in. in diameter, and between 2in. and 3in.

deep, is made of plain brass, copper, or nickel, and has a slight

turnover edge, turning outwards. The cover, which is a shallow one,

has a 2in. flange. This flange is for the reception of a secret lining

to the pan, containing the doves, and left behind when the cover is

raised, after being placed over the pan. It fits outside the cover

flange, loosely, but very tightly into the pan, for there must be no

danger of its being carried away when the cover is lifted. It also has

a turnover edge, precisely as has the pan, and by means of this edge

it is temporarily attached to the cover. The cover, on the under side,

at the extreme border, has two flat hooks, an inch or so in length.

These are placed on opposite sides. In the turnover edge of the lining

are two slits, admitting the flat hooks. To attach the lining to the

cover is therefore simple, the hooks being placed in the slits and a

twist given to the cover, which has only to be twisted the reverse way

to withdraw the hooks from the lining again.

Firstly, the performer sends his assistant forward to borrow the

rings, which the lenders place upon the little wand he carries. In

returning he changes them for dummies, as described at page 176,

and at once retires behind the scenes, where he has the cover and

lining already prepared with the birds inside, but not with the hooks

in position. The ribbons around the necks of the birds are left

outside, the insertion of a stick in the loops preventing their being

pulled inside by the movements of their wearers. This prearrangement

is necessary, as rapidity of action is essential. A ring is rapidly

attached by the ribbon loop being first passed through it, and then

opened out over it. When attached, the rings are popped inside,

the cover hooked to the lining, and a prearranged signal given the

performer that all is in readiness. The performer, in the meanwhile,

has been making his omelette, which he must not light until his

assistant signals that he is ready. Then he applies fire, and, rushing

forward, shows the spectators the rings frizzling in the midst of the

eggs. This is done rapidly; and it is certainly advisable to avoid,

if possible, the actual owners of the rings, or the absence of a lent

one may be noticed. The assistant seizes this opportunity for bringing

on the cover, which he does in a careless manner; and it is as well

to bring on the wand at the same time, as though both articles had

been carelessly forgotten. The majority of the spectators, if not all,

will, however, be engaged with the movements of the performer, who

rushes back to his table, claps on the cover, his assistant firing a

pistol to stir up the company to increased excitement, and takes it

off again, giving, at the moment, the disengaging twist, the lining

being thus left inside the pan, with the doves. The latter are brought

down to the company, with the rings on their necks, and the pan shown

empty, the contents being concealed between the bottom of the lining

and the bottom of the pan.

_To Pass a Borrowed Ring Inside an Egg._--A ring is borrowed, and

placed in a handkerchief, or elsewhere, and an ordinary full egg,

which may be examined, is placed in an egg-cup. The ring is "passed"

into the egg, which is broken by the spectators, who also find the

ring inside the egg by means of a little hook, with which they fish

for it. The secret of the trick lies in the egg-cup. This may be of

wood or metal--the latter for preference, wooden egg-cups being open

to suspicion, whereas plated ones are not. Inside the cup, at the

bottom, is cut a moderately deep slot; and when the performer has

obtained possession of the ring by one of the methods described in

this book, he secretly places it in the slot. The egg is now placed

in the egg-cup, but, before doing so, the performer accidentally (!)

breaks the shell at the small end, either by tapping the egg on the

table or striking it with his wand, whilst in the act of explaining

that the ring is to be found inside when the egg is placed into the

cup, with the cracked end downwards. A little pressure will cause

the ring to be forced into it. A small hook is now presented to a

spectator, who is desired to break the top of the egg, and fish for

the ring with the hook. Sooner or later, the ring will be brought to

light. Particulars to be observed in connection with this trick are

that the borrowed ring must not be too broad, or it may jam in the

slot, nor must it be of a nature likely to be injured by the contents

of the egg. The cup, with egg in it, should be brought forward on a

plate or small waiter, in case of an overflow, a napkin being also

necessary, for the same reason, and for the additional purpose of

wiping the ring. The performer should present several eggs to the

company, who select the one with which the trick is to be performed;

but he should previously ascertain that each of them fits well into

the cup, and does not jam at the sides. The safest plan is to have a

special egg-cup made sufficiently large to take any ordinary hen's

egg, as occasions may arise when the eggs will be provided by the

house, as would be the case in the country. An additional feature is

sometimes introduced of having a second egg-cup, without any slot

in it, this one being given for examination, and the prepared one

afterwards exchanged for it. The prepared one can very well be kept

under the vest, and exchanged in the act of turning round.

_The Flying Cage._--The performer comes forward with a square cage

in his hand, containing a live bird. Standing close in front of

the audience, he suddenly makes a movement as of throwing the cage

upwards, when that article disappears, bird and all. The secret lies

in the fact that, whilst the framework of the cage is actually of wood

or metal, and the wires of real wire, the whole is jointed together at

the corners with elastic, and the wires looped or hinged where affixed

to the framework, so that the whole may be shut up, cornerwise,

longitudinally, and made to disappear up the coat sleeve. The sleeve

must be pretty large for this purpose, and the shirt cuff must offer

no obstruction; in fact, a cuffless shirt should be worn. At one

corner of the cage is affixed a strong black cord, which passes up the

sleeve, round the back, and down the other sleeve, where it is tied to

the wrist. The length must be such that the performer is just able to

hold the cage, and have the cord tight. The bird is inserted through

the wires. When the performer desires to cause the cage to disappear,

he shuts up the cage obliquely, and, by simultaneously stretching

out his arms, it is made to fly up his sleeve. So instantaneously

is this accomplished, that even those acquainted with the means by

which the disappearance is arrived at cannot actually see the cage go,

although the performer faces the company during the entire execution

of the trick. It is advisable to purchase a cage ready made, in

preference to constructing it oneself. A black frame is preferable to

a brightly-burnished brass one.

_The Great Dictionary Trick._--Few tricks have caused more general

wonderment than this one. It is presented in various ways; but

the original form, to which the reader may make what variations

circumstances and ingenuity may suggest, is as follows: The performer

advances with several pieces of paper, all blank. These are folded

and thrown into a hat. One is selected by a spectator, and left in

custody of the company. Several dictionaries are now produced, and

handed round for subsequent reference. A paper-knife is placed in

the hands of a spectator, who is desired to thrust it at will into

the dictionary which the performer presents to him. The book is

opened at the place thus indicated, the performer announcing the

pages, to which the holders of the other dictionaries at once turn.

The audience select which page and which of the two columns upon

it shall be employed; and then, in order to ascertain which word

shall be selected, a bag containing numbered counters, shown to be

all different, is presented to another spectator, who draws one,

and is asked to announce it. The word corresponding to that number,

counting from the top of the page, is then read out, and on the paper

previously chosen being opened, the word is found written upon it.

The working of this trick is as follows: The dictionary which is

presented by the performer to the holder of the paper-knife is

composed of two pages only, repeated over and over again, throughout

the book. Thus, it makes no difference where the knife may be thrust.

Say that the thirteenth word on the right-hand column of the left-hand

page of the book is the one selected by the performer. He would

first ask someone which page he should take. If the right hand were

said, the performer immediately ejaculates, "_Your_ right hand;

thank you!" and immediately proceeds to have the right-hand column

selected by someone else, in the same one-sided manner. The selection

of the proper word is thus managed. The bag is a double one, and in

one side are numbers running in proper arithmetical progression.

These are shown and replaced. In the other side are a quantity of

counters, but each is numbered "thirteen," so the drawer is bound to

draw that number, the performer taking care to open that side for the

insertion of his hand. The corresponding word has been previously

written upon the paper. This may be forced upon the selector by being

placed upon the crown of a hat in a circle with other pieces, the hat

being adroitly turned at the proper moment, so that the desired piece

of paper comes to the hand of the chooser. This force must not be

insisted upon if the chooser be at all unwilling, and the performer

must resort to the alternate ruse (which many prefer entirely to the

force) of a change. For this, the prepared paper is held in the left

hand, and a plain paper apparently put into it by the right, it being,

of course, retained there, and the one in the left hand exhibited.

When performed many times before the same company, different

arrangements of pages will have to be adopted, or the recurrence of

the same page may easily lead to detection of the fraud.

_Magical Wine._--The performer comes forward with a glass of port wine

in his hand. He then explains the convenience of being a conjuror,

since one can always accommodate one's friends. For instance, here

is a glass of port wine. The friend to whom it is proffered does

not happen to care for port. In the ordinary way the wine would be

wasted; but not so with the conjuror. All he has to do is to borrow

the friend's handkerchief (here a handkerchief is borrowed), and,

waving it thus over the glass, see, the wine has changed to sherry!

But the friend does not like sherry either. What does he like, then?

A little spirit? Yes! Gin, perhaps? If you please. The handkerchief is

once more waved over the glass, and the sherry turns to gin, which the

company are welcome to prove by the ordeal of taste.

The secret of this trick lies in two pieces of coloured glass, shaped

thus: [Illustration] so as to fit perpendicularly into a wineglass.

One piece of glass is yellow, to represent sherry, and the other red.

The performer advances with the glass full of gin, and the two glasses

placed in it. The red and the yellow commingling produce the tawny

port colour. It need hardly be said that the edges of the glasses

must never be towards the company. The first time the handkerchief is

placed over the glass the red glass is abstracted, leaving the yellow,

which is removed on the second occasion. The glasses are most easily

palmed. Provided with his glasses, the performer will find this a

handy trick to perform extempore at the houses of friends, where water

might be used if gin were not handy, or else very pale whisky. It is

not of sufficient importance for the stage.

_The Sack Trick._--This trick is variously performed, but I shall only

give one method, as being the one best within reach of the amateur.

It requires the aid of an assistant, who comes forward undisguisedly

as such. A large sack is handed round to the company, along with a

piece of cord, for examination. As a matter of fact, there is nothing

to be discovered in connection with these articles. Into the sack the

performer or his assistant steps, and it is tied securely over his

head, the cord being finally sealed by one of the company. A screen is

placed in front of the individual in the sack, and, in a very short

space of time, he comes from behind it with the sack in his hand, and

minus a boot. The sack is given to the company for examination, when

the mouth is found to be firmly tied and the seal unbroken, whilst

the missing boot is clearly inside, it being thereby conclusively

demonstrated that it was actually the sack which contained the owner

of that piece of wearing apparel. The seal has to be broken before

the boot can be recovered.

The explanation is that there are two sacks, the second one being

concealed up the back of the person who is tied up. So soon as he

is put into the first sack he gets down the concealed one, and pops

his boot into it. He then folds the mouth of it neatly, and, as his

_confrère_ forms up that of the visible sack for tying, he thrusts it

up into his hand. The tyer, holding his hand so as to conceal the fact

of there being two mouths, ties up the inside one very securely--a

few folds of the cords just nipping the outside sack also, so that

the hand holding them may be presently removed without any exposure

resulting. The greatest care must, of course, be taken that the

sealing is done upon the inside sack only, the tyer superintending

this operation very closely. Everything depends upon the neatness

with which he performs his part. If it is a clumsy job, the sealing

must be dispensed with, or the sealer will notice the presence of

two sack mouths. The material of which the sacks are made should,

therefore, not be very thick, or the cord will not be able to conceal

the outside sack mouth. When the screen is placed in front, the man

inside carefully pulls away the outside mouth from under the cord, and

he is free. The first sack he merely hangs up behind the screen--which

is afterwards folded up and carried away with the sack inside it--and

comes forward with sack number two, which he has never been inside, in

his hand. It is a good stage trick.

_The Dancing Sailor._--This is a trick which may always be relied

upon not to fall flat, and should be introduced whenever the audience

has had a good dose of serious tricks administered. The feat consists

in taking the rude effigy of a sailor, cut out of a simple piece of

cardboard, which may be freely and minutely examined by the company,

and, standing it on the floor, to cause it to remain there, and to

dance according to the directions of the performer, without any

visible means of support becoming evident. The sailor can be very

easily manufactured in an hour or so, out of a piece of fairly thick

card. The trunk and head should be cut out of one piece, with the arm,

from the shoulder to the elbow protruding at a considerable angle.

The forearm is jointed on, as are also the legs, which must be in two

pieces. The joints may consist of thread, and should be very loose.

The design may be varied according to the fancy of the maker, but

he will be safe in giving to the cheeks and nose an extravagantly

rubicund hue, and the mouth a humorous turn. The hat should be on one

side, the trousers broad at the bottom, and the feet large, and turned

outwards, and slightly upwards. When the jointing has been done, it is

as well to cover the whole figure with thick paper, on both sides, in

order to obtain a smoothness of exterior. In pasting on this paper,

care must, of course, be taken that the joints are not touched by

the adhesive matter employed, or they will not work properly. The

whole figure, to look sufficiently imposing, should stand quite 15in.

high; but if it be intended to dance it upon the table, then 12in. is

sufficient. Effect is everything in conjuring, and a great deal may be

lost by having things just a size too small.

In performing the trick, the conjuror brings forward the sailor, whose

appearance, if properly designed, should at once create amusement. He

is given for examination, and the performer then retires to the stage,

bending, as he does so, the arms of the figure at the armpits slightly

backward from the body. He then proceeds to show the company that no

threads or wires are anywhere about. This he does by slashing about

in every direction, high, low, and on either side, with his wand. As

a matter of fact, no threads or wires are within his reach, so he

cannot do wrong; but a thread does exist in connection with the trick

all the same. It should be a fine silk thread. Invariably use silk

for everything, as it is both stronger, finer, and more durable and

pleasant than cotton. If two assistants are available, there should be

one on each side of the stage, holding the ends. When the performer

is doing his slashing around, the thread is simply held as high as

possible, the expedient of standing upon chairs being resorted to by

the assistants, if necessary. It is very often the case, however,

that the aid of only one assistant is possible or advisable. The

thread must then be fixed on one side of the stage, at the proper

height from the floor, a few inches of elastic being first tied on to

counteract the effect of any unpremeditated jerk, which might easily

prove disastrous to the trick. The elastic, being thick in substance,

must be out of sight. If the dancing is to be done upon the floor,

then the thread must be affixed about an inch higher than the armpits

of the figure (to allow for the drop in the centre of the thread),

and allowed to lie upon the floor, except when in actual use. If the

dancing be done upon the table, the assistant must do the best he

can, and the performer use judgment in the way he sweeps with his

wand. When the assistant receives his "cue" from the performer, which

may be done in a thousand different ways, he lowers the thread, and

holds it taut. The performer then places the figure directly over it,

allowing the thread to pass under the armpits. As these have been

pressed back, the thread will pass across the front of them, and

across the back of the figure. The assistant must watch the figure

narrowly, so that no motion whatever is given to it. A rehearsal or

two is all that is necessary to make it appear that the figure stands

of its own accord, and without aid, upon the floor. Any swaying motion

will tend to destroy this illusion. The rest of the trick follows as

a matter of course. If music be at hand, the performer has a lively

air, such as a hornpipe, played, or, in the absence of any instrument,

the performer must needs whistle. In any case, he keeps time with his

wand, and looks approvingly at the figure, talking to it occasionally.

The assistant need jerk but very slightly at the thread to cause the

figure to dance, and he can easily vary his motions to fast or slow.

The legs of themselves assume various steps, which many of the company

will think to have been brought about by design. Once or twice the

performer passes his wand over and before and behind the figure whilst

it is dancing, to show that there really is no connection. If it be

dancing upon the table, a borrowed hat may be held in front of it,

and the figure made to advance upon it and dance upon the crown.

This, besides being additionally diverting, indirectly does away with

any suspicion, which might excusably exist, as to the presence of

mechanism within the table. When the assistant and performer are well

together, all sorts of tricks may be indulged in. The figure may be

made to dance _inside_ a hat; and I have even seen a skilful performer

twirl an umbrella between it and the floor, the sailor continuing his

hornpipe merrily and unconcernedly all the while.

If the performer chooses to add to the humour of the situation, he

may, if the figure be dancing upon the table, take it by the head (it

should never be touched elsewhere) and lay it down, saying that there

has been dancing enough. He then turns to the company, and commences

to say something, as if about to explain a new trick, when the figure

suddenly starts up and commences dancing with great vigour. The

company laugh, and the performer goes to the figure to lay it down,

this time with the wand placed across it to keep it quiet. So soon

as he begins to speak to the company, however, up starts the figure

a second time, the wand rolling off on to the floor, the dance being

renewed with fresh energy.

When the trick is to be brought to a close, the assistant holds the

thread firmly, and the performer, seizing the sailor by the head,

lifts him off. Now, if I had not directed both sides of the figure

to be covered with paper, a very great risk would be run of the

projections at the joints catching in the thread. Properly covered on

both sides, everything is smooth, and so there is nothing to catch.

The figure should be instantly brought forward to the company for

re-examination.

In a small way, i.e., before children, the figure may be made to dance

between the legs, the thread being attached to the legs. (See _To

Cause a Stick or Poker to Stand on End_.) The slightest movement of

the legs in an outward direction will give motion to the figure, the

feet beating time with the air, whether played, hummed, or whistled,

so as to cover the action. The country public-house conjuror affects

this phase of the trick.

_The Anti-Gravitation Ball._--The performer produces a solid wooden

ball, having a thick cord passing through it, and this he allows the

company to examine. It is seen that the cord passes freely through

the hole. Placing one end of the cord under his foot, he holds the

other end at arm's length, so that the cord is perpendicular. With the

disengaged hand, the ball is raised up to the other, and, on being

released, of course falls to the ground; when, however, the performer

gives the word for it to remain at the top of the cord, instead of

descending, it obeys. He then points with the wand to a part of the

cord a foot or so down, and the ball at once descends so far, and

then stops dead. To any place on the cord that is indicated by the

performer or any of the company the ball will stop and remain.

The secret of this is, that the hole is not drilled straight through

the ball, but has an angle, or bend, in it. The result is, that when

the cord is pulled tight the ball is held, but when it is slackened

the ball falls, a sudden tightening being sufficient to arrest it in

its career.

A very good form of ball is that now generally sold. It has a very

large hole indeed, quite a dozen times larger than the cord passing

through it. This hole is slightly tapered, and the cord is passed

through a small plug fitting into the hole. This plug is concealed in

the performer's hand as he holds the cord, at one end of which is a

big knot, or tassel. The plug has a crooked hole drilled through it,

and when the ball is run down the cord, so as to get the plug inside

it, the two become one, and the ball behaves precisely as it would

were it itself prepared. As the spectators, however, fancy the ball

to be strung on a cord that is many times smaller than the opening,

the force which causes the object to remain wherever it is ordered, in

defiance of the laws of gravitation, is quite inexplicable. I once saw

a Chinaman with a doll which went both up and down a cord. This was

very ingenious and diverting, but was too obviously mechanical.

A neat way of performing this trick, and one which I recommend for

drawing-room use, is to take a ball of worsted and thread it with

cotton or thread, the threading not being done straight through the

ball, but crookedly. This ball will then be found quite amenable to

discipline, and, of course, not the least suspicion can attach to it,

the worsted being borrowed from the hostess's work-basket, and the

threading done before the company's eyes. In any form, this trick is

not sufficiently important for the stage, there being no variety or

change in it.

_To Cause a Stick or Poker to Stand on End._--For this feat the

performer must be provided with 2ft. or so of fine black cotton or

silk, with a black pin at each end, securely tied on. The pins may

be either bent or straight, and must be fixed in the trousers at the

calf, one in each leg, which will enable the operator to walk about

without any fear of the thread getting him into trouble. The performer

first takes a stick or poker (if a poker, it should be a light one),

and, after having had it examined, proceeds to mesmerise it, as he

will call it. This mesmerism should be conducted with the greatest

seriousness imaginable. When the magnetic influence has been properly

aroused by rubbing, &c., the performer should sit down and open his

legs, so causing the cotton or silk to become stretched. He then takes

the stick or poker, and stands it upon the floor in front of him. On

being left to itself, it, of course, falls to the ground, but after

three or four failures, the performer brings it against the thread,

and then, making several mesmeric passes with the hands, relinquishes

all hold. The stick or poker will, of course, be supported by the

thread, but during the whole time it is so sustained the hands must be

waved over and around it, as though exercising some influence over it.

Do not prolong this trick more than can possibly be avoided, but get

out of sight and remove the pins and thread with all despatch. (See

also _The Dancing Sailor_.)