CLEVER TRICKS WORTH KNOWING
THE VANISHING KNOTS
For this trick you must use a silk handkerchief. Twisting it, rope-
fashion, and grasping it by the middle with both hands. You must
request one of the spectators to tie the two ends together. He does
so, but you tell him he has not tied them half tight enough, and you
yourself pull them still tighter. A second and a third knot are made
in the same manner, the handkerchief being drawn tighter by yourself
after each knot is made. Finally, take the handkerchief, and covering
the knots with the loose part, you hand it to some one to hold.
Breathing on it, you request him to shake out the handkerchief, when
all the knots are found to have disappeared.
When the performer apparently tightens the knot, he in reality only
strains one end of the handkerchief, grasping it above and below the
knot. This pulls that end of the handkerchief out of its twisted
condition and into a straight line, round which the other end of the
handkerchief remains twisted; in other words, converts the knot into a
slip-knot. After each successive knot he still straightens this same
end of the handkerchief. This end, being thus made straight, would
naturally be left longer than the other, which is twisted round and
round it. This tendency the performer counteracts by drawing it
partially back through the slip-knot at each pretended tightening.
When he finally covers over the knots, which he does with the left
hand, he holds the straightened portion of the handkerchief,
immediately behind the knots, between the first finger and thumb of
the right hand, and therewith, in the act of covering over the knots,
draws this straightened portion completely out of the slipknot.
THE DANCING SAILOR
The Dancing Sailor is a figure cut out of cardboard, eight or nine
inches in height, and with its arms and legs cut out separately, and
attached to the trunk with thread in such a manner as to hang
perfectly free. The mode of exhibiting it is as follows: The
performer, taking a seat facing the company, with his legs slightly
apart, places the figure on the ground between them. As might be
expected, it falls flat and lifeless, but after a few mesmeric passes
it is induced to stand upright, though without visible support, and,
on a lively piece of music being played, dances to it, keeping time,
and ceasing as soon as the music ceases.
The secret lies in the fact that, from leg to leg of the performer, at
about the height of the figure from the ground, is fixed (generally by
means of a couple of bent pins), a fine black silk thread, of eighteen
or twenty inches in length. This allows him to move about without any
hindrance. On each side of the head of the figure is a little slanting
cut, tending in a perpendicular direction, and about half an inch in
length. The divided portions of the cardboard are bent back a little,
thus forming two "hooks," so to speak, at the sides of the head. When
the performer takes his seat, as before mentioned, the separation of
his legs draws the silk comparatively taut, though, against a
moderately dark background, it remains wholly invisible. When he first
places the figure on the ground, he does so simply, and the figure
naturally falls. He makes a few sham mesmeric passes over it, but
still it falls. At the third and fourth attempt, however, he places it
so that the little hooks already mentioned just catch the thread, and
the figure is thus kept upright. When the music commences, the
smallest motion, or pretence of keeping time with the feet is enough
to start the sailor in a vigorous hornpipe.
CONJURING WITH COINS
Coin-conjuring has its own peculiar sleights, which it will be
necessary for the student to practice diligently before he can hope to
attain much success in this direction.
The first faculty which the novice must seek to acquire is that of
"palming"--_i.e._, secretly holding an object in the open hand by the
contraction of the palm. To acquire this power, take a half-crown,
florin, or quarter (these being the most convenient in point of size),
and lay it on the palm of the open hand. Now close the hand very
slightly, and if you have placed the coin on the right spot (which a
few trials will quickly indicate), the contraction of the palm around
its edges will hold it securely, and you may move the hand and arm in
any direction without fear of dropping it. You should next accustom
yourself to use the hand and fingers easily and naturally, while still
holding the coin as described. A very little practice will enable
you to do this. You must bear in mind while practicing always to keep
the inside of the palm either downward or toward your own body, as any
reverse movement would expose the concealed coin.
PASSES
Being thoroughly master of this first lesson, you may proceed to the
study of the various "passes." All of the passes have the same object
--viz., the apparent transfer of an article from one hand to the other,
though such article really remains in the hand which it has apparently
just quitted. As the same movement frequently repeated would cause
suspicion, and possibly detection, it is desirable to acquire
different ways of effecting this object. It should be here mentioned
that the term "palming" which we have so far used as meaning simply
the act of holding any article, is also employed to signify the act of
placing any article in the palm by one or the other of various passes.
The context will readily indicate in which of the two senses the term
is used in any given passage.
Pass I.--Take the coin in the right hand, between the second and third
fingers and the thumb, letting it, however, really be supported by the
fingers, and only steadied by the thumb. Now move the thumb out of the
way, and close the second and third fingers, with the coin balanced on
them, into the palm. If the coin was rightly placed in the first
instance, you will find that this motion puts it precisely in the
position above described as the proper one for palming; and on again
extending the fingers the coin is left palmed. When you can do this
easily with the hand at rest, you must practice doing the same thing
with the right hand in motion toward the left, which should meet it
open, but should close the moment that the fingers of the right hand
touch its palm, as though upon the coin which you have by this
movement feigned to transfer to it. The left hand must thenceforward
remain closed, as if holding the coin, and the right hand hang loosely
open, as if empty.
PALMING
In the motion of "palming," the two hands must work in harmony, as in
the genuine act of passing an article from the one hand to the other.
The left hand must therefore rise to meet the right, but should not
begin its journey until the right hand begins its own. Nothing looks
more awkward or unnatural than to see the left hand extended, with
open palm, before the right hand has begun to move toward it.
Pass 2.--This is somewhat easier than Pass 1, and may sometimes be
usefully substituted for it. Take the coin edgeways between the first
and third fingers of the right hand, the sides of those fingers
pressing against the edges of the coin, and the middle finger
steadying it from behind. Carry the right hand toward the left, and at
the same time move the thumb swiftly over the face of the coin till
the top joint passes its outer edge, then bend the thumb, and the coin
will be found to be securely nipped between that joint and the
junction of the thumb with the hand. As in the last case, the left
hand must be closed the moment the right hand touches it; and the
right must thenceforth be held with the thumb bent slightly inward
toward the palm, so that the coin may be shielded from the view of the
spectators. This is an especially quick mode of palming, and if
properly executed the illusion is perfect.
Pass 3.--Hold the left hand palm upward, with the coin in position.
Move the right hand toward the left, and let the fingers simulate the
motion of picking up the coin, and instantly close. At the same moment
slightly close the left hand, so as to contract the palm around the
coin, and drop the hand, letting it hang loosely by your side.
THE VANISHING TRICK
A word of caution may here be desirable. These "passes" must by no
means be regarded as being themselves tricks, but only as processes to
be used in the performance of tricks. If the operator, after
pretending to pass the coin, say from the right hand to the left, and
showing that it had vanished from the left hand, were to allow his
audience to discover that it had all along remained in his right hand,
they might admire the dexterity with which he had in this instance
deceived their eyes, but they would henceforth guess half the secret
of any trick in which palming was employed. If it is necessary
immediately to reproduce the coin, the performer should do so by
appearing to find it in the hair or whiskers of a spectator, or in any
other place that may suit his purpose, remembering always to indicate
beforehand that it has passed to such a place, thereby diverting the
general attention from himself. As the coin is already in his hand, he
has only to drop it to his finger-tips as the hand reaches the place
he has named, in order, to all appearance, to take it from thence.
The various passes may be employed not only to cause the disappearance
of an article, as above described, but to secretly change it for a
substitute of similar appearance. These exchanges are of continual use
in conjuring; indeed, we may almost say that three parts of its
marvels depends on them. Such an exchange having been made, the
substitute is left in sight of the audience, while the performer,
having thus secretly gained possession of the original, disposes of it
as may be necessary for the purpose of the trick.
With this brief practical production, we proceed to describe a few of
the simpler tricks with coins.
HEADS OR TAILS
You borrow a quarter, and spin it, or invite some other person to spin
it, on the table (which must be without a cloth). You allow it to spin
itself out, and immediately announce, without seeing it, whether it
has fallen head or tail upward. This may be repeated any number of
times with the same result, though you may be blindfolded, and placed
at the further end of the apartment.
The secret lies in the use of a quarter of your own, on one face of
which (say on the "tail" side) you have cut at the extreme edge a
little notch, thereby causing a minute point or tooth of metal to
project from that side of the coin. If a coin so prepared be spun on
the table, and should chance to go down with the notched side upward,
it will run down like an ordinary coin, with a long continuous
"whirr," the sound growing fainter and fainter till it finally ceases;
but if it should run down with the notched side downward, the friction
of the point against the table will reduce this final whirr to half
its ordinary length, and the coin will finally go down with a sort of
"flop." The difference of sound is not sufficiently marked to attract
the notice of the spectators, but is perfectly distinguishable by an
attentive ear. If, therefore, you have notched the coin on the "tail"
side, and it runs down slowly, you will cry "tail"; if quickly,
"head."
If you professedly use a borrowed coin, you must adroitly change it
for your own, tinder pretence of showing how to spin it, or the like.
ODD OR EVEN; OR, THE MYSTERIOUS ADDITION
You take a handful of coins, and invite another person to do the same,
and to ascertain privately whether the number he has taken is odd or
even. You request the company to observe that you have not asked him a
single question, but that you are able, notwithstanding, to divine and
counteract his most secret intentions, and that you will, in proof of
this, yourself take a number of coins and add them to those he has
taken, when, if his number was odd, the total shall be even; if his
number was even, the total shall be odd. Requesting him to drop the
coins he holds into a hat, held on high by one of the company, you
drop in a certain number on your own account. He is now asked whether
his number was odd or even; and, the coins being counted, the total
number proves to be as you stated, exactly the reverse. The experiment
is tried again, with different numbers, but the result is the same.
The secret lies in the simple arithmetical fact, that if you add an
odd number to an even number, the result will be odd; if you add an
odd number to an odd number, the result will be even. You have only to
take care, therefore, that the number you yourself add, whether large
or small, shall always be odd.
TO RUB ONE DIME INTO THREE
This is a simple little parlor trick, but will sometimes occasion a
good deal of wonderment. Procure three dimes of the same issue, and
privately stick two of them with wax to the under side of a table, at
about half an inch from the edge, and eight or ten inches apart.
Announce to the company that you are about to teach them how to make
money. Turn up your sleeves, and take the third dime in your right
hand, drawing particular attention to its date and general appearance,
and indirectly to the fact that you have no other coin concealed in
your hands. Turning back the table cover, rub the dime with the ball
of the thumb backward and forward on the edge of the table. In this
position your fingers will naturally be below the edge. After rubbing
for a few seconds, say: "It is nearly done, for the dime is getting
hot," and, after rubbing a moment or two longer with increased
rapidity, draw the hand away sharply, bringing away with it one of the
concealed dimes, which you exhibit as produced by the friction.
Leaving the waxed dime on the table, and again showing that you have
but one coin in your hands, repeat the operation with the remaining
dime.
THE CAPITAL Q
Take a number of coins, say from five-and-twenty to thirty, and
arrange them in the form of the letter Q, making the "tail" consist of
some six or seven coins. Then invite some person (during your absence
from the room) to count any number he pleases, beginning at the tip of
the tail and travelling up the left side of the circle, touching
each coin as he does so; then to work back again from the coin at
which he stops (calling such coin one), this time, however, not
returning down the tail, but continuing round the opposite side of the
circle to the same number. During this process you retire, but on your
return you indicate with unerring accuracy the coin at which he left
off. In order to show (apparently) that the trick does not depend on
any arithmetical principle, you reconstruct the Q, or invite the
spectators to do so, with a different number of coins, but the result
is the same.
The solution lies in the fact that the coin at which the spectator
ends will necessarily be at the same distance from the root of the
tail as there are coins in the tail itself. Thus, suppose that there
are five coins in the tail, and that the spectator makes up his mind
to count eleven. He commences from the tip of the tail, and counts up
the left side of the circle. This brings him to the sixth coin beyond
the tail. He then retrogrades, and calling that coin "one," counts
eleven in the opposite direction. This necessarily brings him to the
fifth coin from the tail on the opposite side, being the length of the
tail over and above those coins which are common to both processes. If
he chooses ten, twelve, or any other number, he will still, in
counting back again, end at the same point.
The rearrangement of the coins which is apparently intended to make
the trick more surprising, is really designed, by altering the length
of the tail, to shift the position of the terminating coin. If the
trick were performed two or three times in succession, with the same
number of coins in the tail, the spectators could hardly fail to
observe that the same final coin was always indicated, and thereby to
gain a clue to the secret. The number of coins in the circle itself is
quite immaterial.
THE WANDERING DIME
Have ready two dimes, each slightly waxed on one side. Borrow a dime,
and secretly exchange it for one of the waxed ones, laying the latter
waxed side uppermost on the table. Let any one draw two squares of
ordinary card-board. Take them in the left hand, and, transferring
them to the right, press the second waxed dime against the center of
the undermost, to which it will adhere. Lay this card (which we will
call a) on the table, about eighteen inches from the dime which is
already there, and cover such dime with the other card, b. Lift both
cards a little way from the table, to show that the dime is under card
a, and that there is (apparently) nothing under card b. As you replace
them, press lightly on the center of card a. You may now make the dime
appear under whichever card you like, remembering that, if if you wish
the dime not to adhere, you must bend the card slightly upward in
taking it from the table; if otherwise, take it up without bending.
THE MAGIC COVER AND VANISHING PENNIES
For the purpose of this trick, you require half a dozen cents, of
which the center portion has been cut out, leaving each a mere rim of
metal. Upon these is placed a complete cent, and the whole are
connected together by a rivet, running through the whole thickness of
the pile. When placed upon the table, with the complete coin upward,
they have all the appearance of a pile of ordinary pennies, the slight
lateral play allowed by the rivet aiding the illusion. A little
leather cap (shaped something like a fez, with a little button on the
top, and of such size as to fit loosely over the pile of cents) with
an ordinary die, such as backgammon is played with, complete the
necessary apparatus.
You begin by drawing attention to your magic cap and die, and in order
to exhibit their mystic powers, you request the loan of half a dozen
cents (the number must, of course, correspond with that of your own
pile). While they are being collected, you take the opportunity to
slip the little cap over your prepared pile, which should be placed
ready to hand behind some small object on the table, so as to be
unseen by the spectators. Pressing the side of the cap, you lift the
pile with it, and place the whole together in full view, in close
proximity to the die. The required cents having been now collected,
you beg all to observe that you place the leather cap (which the
spectators suppose to be empty) fairly over the die. Taking the
genuine coins in either hand, you pretend, by one or the other of the
"passes", to transfer them to the other. Holding the hand which is now
supposed to contain the coins immediately above the cap, you announce
that they will at your command pass under the cap, from which the die
will disappear to make room for them. Saying, "One, two, three! Pass!"
you open your hand, and show that the coins have vanished; and then,
lifting up the cap by the button, you show the hollow pile, covering
the die and appearing to be the genuine coins. Once more covering the
pile with the cap, you announce that you will again extract the coins,
and replace the die; and to make the trick still more extraordinary,
you will this time pass the coins right through the table. Placing the
hand which holds the genuine coins beneath the table, and once more
saying, "One, two, three! Pass!" you chink the coins, and, bringing
them up, place them on the table. Again picking up the cap, but this
time pressing its sides, you lift up the hollow pile with it and
disclose the die. Quickly transferring the cap, without the pile, to
the other hand, you place it on the table, to bear the brunt of
examination, while you get rid of the prepared coins.
THE PEPPER-BOX, FOR VANISHING MONEY
This is a small tin box, of the pepper-box or flour-dredger shape,
standing three to four inches high. The "box" portion (as
distinguished from the lid) is made double, consisting of two tin
tubes sliding the one within the other, the bottom being soldered to
the inner one only. By pulling the bottom downward, therefore, you
draw down with it the inner tube, telescope fashion. By so doing you
bring into view a slit or opening at one side of the inner tube, level
with the bottom, and of such a size as to let a half-dollar pass
through it easily. The lid is also specially prepared. It has an inner
or false top, and between the true and false top a loose bit of tin
is introduced which rattles when the box is shaken, unless you at the
same time press a little point of wire projecting from one of the
holes at the top, and so render it, for the time being silent. The box
is first exhibited with the inner tube pushed up into its place, and
the opening thereby concealed. A marked coin is borrowed, but either
before or after the coin is placed therein, as may best suit his
purpose, the performer secretly draws out the inner tube a quarter of
an inch or so, thus allowing the coin to slip through into his hand.
As he places the box on the table, a very slight pressure suffices to
force the tube up again into its original position, and close the
opening. Having made the necessary disposition of the coin, the
performer takes up the box and shakes it, to show (apparently) that
the coin is still there, pressing on the little point above mentioned
when he desires it to appear that it has departed, and immediately
opening the box to show that it is empty. The pepper-box will not bear
minute inspection, and is in this particular inferior to the rattle
box.
A NEST OF BOXES
This consists of half a dozen circular wooden boxes, one within the
other, the outer box having much the appearance, but being nearly
double the size, of an ordinary tooth-powder box, and the smallest
being just large enough to contain a quarter. The series is so
accurately made that, by arranging the boxes in due order one within
the other, and the lids in like manner, you may, by simply putting on
all the lids together, close all the boxes at once, though they can
only be opened one by one.
These are placed, the boxes together and the lids together, anywhere
so as to be just out of sight of the audience. If on your table, they
may be hidden by any more bulky article. Having secretly obtained
possession, by either of the means before described, of a coin which
is ostensibly deposited in some other piece of apparatus, you seize
your opportunity to drop it into the innermost box, and to put on the
united lids. You then bring forward the nest of boxes (which the
spectators naturally take to be one box only), and announce that the
twenty-five cent piece will at your command pass from the place in
which it has been deposited into the box which you hold in your hand,
and which you forthwith deliver to one of the audience for safe
keeping. Touching both articles with the mystic wand, you invite
inspection of the first to show that the money has departed, and then
of the box wherein it is to be found. The holder opens the box, and
finds another, and then another, and in the innermost of all, the
marked coin. Seeing how long the several boxes have taken to open, the
spectators naturally infer that they must take as long to close, and
(apart from the other mysteries of the trick) are utterly at a loss to
imagine how, with the mere moment of time at your command, you could
have managed to insert the coin, and close so many boxes. If you
desire to use the nest for a coin larger than a quarter, you can make
it available for that purpose by removing beforehand the smallest box.
THE BALL OF BERLIN WOOL
An easy and effective mode of terminating a money trick is to pass the
marked coin into the center of a large ball of Berlin wool or worsted,
the whole of which has to be unwound before the coin can be reached.
The modus operandi, though perplexing to the uninitiated, is absurdly
simple when the secret is revealed. The only apparatus necessary over
and above the wool (of which you must have enough for a good-sized
ball), is a flat tin tube, three to four inches in length, and just
large enough to allow a quarter or half-dollar (whichever you intend
to use for the trick) to slip through it easily. You prepare for the
trick by winding the wool on one end of the tube, in such manner that
when the whole is wound in a ball, an inch or so of the tube may
project from it. This you place in your pocket, or anywhere out of
sight of the audience. You commence the trick by requesting some one
to mark a coin, which you forthwith exchange by one or the other of
the means already described, for a substitute of your own, and leave
the latter in the possession or in view of the spectators, while you
retire to fetch the ball of wool, or simply take it from your pocket.
Before producing it, you drop the genuine coin down the tube into the
center of the ball, and withdraw the tube giving the ball a squeeze to
remove all trace of an opening. You then bring it forward, and place
it in a glass goblet or tumbler, which you hand to a spectator to
hold. Taking the substitute coin, you announce that you will make it
pass invisibly into the very center of the ball of wool, which you
accordingly pretend to do, getting rid of it by means of one or other
of the "passes" already described. You then request a second spectator
to take the loose end of the wool, and to unwind the ball, which, when
he has done, the coin falls out into the goblet.
The only drawback to the trick is the tediousness of unwinding. To
obviate this, some performers use a wheel made for the purpose, which
materially shortens the length of the operation.