TRICKS WITH WATCHES.
TO INDICATE ON THE DIAL OF A WATCH THE HOUR SECRETLY THOUGHT OF BY ANY
OF THE COMPANY.--The performer, taking a watch in the one hand, and
a pencil in the other, proposes to give a specimen of his powers of
divination. For this purpose he requests any one present to write down,
or, if preferred, merely to think of, any hour he pleases. This having
been done, the performer, without asking any questions, proceeds to tap
with the pencil different hours on the dial of the watch, requesting
the person who has thought of the hour to mentally count the taps,
_beginning from the number of the hour he thought of_. (Thus, if the
hour he thought of were “nine,” he must count the first tap as “ten,”
the second as “eleven,” and so on.) When, according to this mode of
counting, he reaches the number “twenty,” he is to say “Stop,” when the
pencil of the performer will be found resting precisely upon that hour
of the dial which he thought of.
This capital little trick depends upon a simple arithmetical principle;
but the secret is so well disguised that it is very rarely discovered.
All that the performer has to do is to count in his own mind the
taps he gives, calling the first “one,” the second “two,” and so
on. The first seven taps may be given upon any figures of the dial
indifferently; indeed, they might equally well be given on the back of
the watch, or anywhere else, without prejudice to the ultimate result.
But the eighth tap must be given invariably on the figure “twelve”
of the dial, and thenceforward the pencil must travel through the
figures _seriatim_, but in reverse order, “eleven,” “ten,” “nine,” and
so on. By following this process it will be found that at the tap
which, counting from the number the spectator thought of, will make
twenty, the pencil will have travelled back to that very number. A few
illustrations will make this clear. Let us suppose, for instance, that
the hour the spectator thought of was twelve. In this case he will
count the first tap of the pencil as thirteen, the second as fourteen,
and so on. The eighth tap in this case will complete the twenty, and
the reader will remember that, according to the directions we have
given, he is at the eighth tap always to let his pencil fall on the
number twelve; so that when the spectator, having mentally reached
the number twenty, cries, “Stop,” the pencil will be pointing to that
number. Suppose, again, the number thought of was “eleven.” Here
the first tap will be counted as “twelve,” and the ninth (at which,
according to the rule, the pencil will be resting on eleven) will make
the twenty. Taking again the smallest number that can be thought of,
“one,” here the first tap will be counted by the spectator as “two,”
and the eighth, at which the pencil reaches twelve, will count as
“nine.” Henceforth the pencil will travel regularly backward round the
dial, and at the nineteenth tap (completing the twenty, as counted by
the spectator) will have just reached the figure “one.”
The arithmetical reason for this curious result, though simple enough
in itself, is somewhat difficult to explain on paper, and we shall
therefore leave it as an exercise for the ingenuity of our readers.
[Illustration: FIG. 101.]
TO BEND A BORROWED WATCH BACKWARDS AND FORWARDS.--This little deception
is hardly to be called a conjuring trick, but it may be introduced
with good effect in the course of any trick for which a watch has
been borrowed. Looking intently at the watch, as though you noticed
something peculiar about it, you remark to the owner, “This is a very
curious watch, sir; it is quite soft.” Then taking it (as shown in
Fig. 101), with the dial inwards towards your own body, and holding
it between two fingers of each hand on the back, and the thumb of
each hand on the face, you bend the hands outwards, at the same time
bringing the points of the fingers nearer together, immediately
bringing them back to their former position. The motion may be repeated
any number of times. By a curious optical illusion, which we are
not able to explain, but which we assume to be produced in some way
by the varying shadow of the fingers on the polished surface of the
metal, the watch appears, to a spectator at a little distance, to be
bent nearly double by each outward movement of the hands. The illusion
is so perfect, that great amusement is occasionally produced by the
consternation of the owner, who fancies that irreparable injury is
being done to his favourite “Waltham.” If, however, his faith in your
supernatural powers is so great as to resist this ordeal, you may test
it even more severely by means of
THE WATCH-MORTAR AND THE MAGIC PISTOL.--The watch-mortar is an
apparatus in the form of an ordinary mortar, with a pestle to match.
Suggesting to the owner of the borrowed timekeeper that it wants
regulating, you offer to undertake that duty for him. He probably
declines, but you take no notice of his remonstrances, and, placing his
watch in the mortar, bring down the pestle with a heavy thump upon it.
A smash, as of broken glass, is heard, and, after sufficient pounding,
you empty the fragments of the watch into your hand, to the horror of
the owner. You offer to return the fragments, but he naturally objects
to receive them, and insists that you restore the watch in the same
condition as when it was handed to you. After a little discussion, you
agree to do so, premising that you can only effect the object through
the agency of fire. Fetching a loaf of bread, you place it on the table
in view of the company. Then wrapping the fragments of the watch in
paper, you place them in a pistol, and, aiming at the loaf, request the
owner of the watch to give the signal to fire. The word is given, “One,
two, three--Bang!” Stepping up to the loaf, you bring it forward to the
spectators, and tearing it asunder, exhibit in its very centre the
borrowed watch, completely restored, and bright as when it first left
the maker’s hands.
The seeming mystery is easily explained. The mortar has a moveable
bottom, which allows the watch at the performer’s pleasure to fall
through into his hand. There is a hollow space in the thick end of the
pestle, closed by a round piece of wood lightly screwed in, which,
fitting tightly in the bottom part of the mortar, is easily unscrewed
by the performer, or rather unscrews itself, as he apparently grinds
away at the ill-fated chronometer. In the cavity are placed beforehand
the fragments of a watch, which, thus released, fall into the mortar,
and are poured out by the performer into his hand, in order to show
that there has been “no deception.” When the performer goes to fetch
the loaf, he has already obtained possession of the watch, which, after
giving it a rub upon his coat-sleeve or a bit of leather to increase
its brightness, he pushes into a slit already made in the side of the
loaf. When the loaf is torn asunder (which the performer takes care to
do from the side opposite to that in which the opening has been made),
the watch is naturally found imbedded therein.
If a regular conjuring-table is used, the loaf may be placed in
readiness on the _servante_. The performer in this case, having got
possession of the watch, and holding it secretly palmed, borrows a hat.
Walking carelessly behind his table, he asks, as if in doubt, “Who lent
me this hat?” holding it up with one hand, that the spectators may see
that it is empty. While all eyes are thus drawn to the hat, he with the
other hand forces the watch into the loaf, and then, in bringing the
hat down on the table, introduces the loaf into it, after the manner
of the well-known “cannon-ball” trick, to be described hereafter. The
hat is then placed on the table as if empty, and the pistol fired at
the hat. This little addition heightens the effect of the trick, but
demands somewhat greater address on the part of the performer.
The pistol employed, being of constant use in magical performances,
will demand a special explanation. It consists of two parts, viz., an
ordinary pocket-pistol, and a conical tin funnel, measuring about five
inches across its widest diameter, and tapering down to a tube of such
a size as to fit easily over the barrel of the pistol. This tube is
continued inside the cone, and affords a free passage for the charge,
which consists of powder only. Any object which is apparently to be
fired from the pistol is pressed down between the outside of this tube
and the inside of the tin cone, where it remains wholly unaffected by
the explosion. The outside of the cone is japanned according to taste,
the tube and the rest of the interior being always black.
There are numerous other ways of finishing the trick, with or without
the use of the pistol. The watch-mortar has discharged its duty when it
has apparently reduced the borrowed watch to fragments, and has placed
it in reality in the hands of the performer. The sequel of the trick,
with which the mortar has nothing to do, will depend on the ingenuity
of the performer and his command of other apparatus.
There is another form of watch-mortar, which is frequently used,
though to our own taste it is very inferior to that above described.
It consists of a cylindrical tin box or case, about four inches high
and three in diameter, open at the top, standing on a broad flat foot.
Within this fits loosely another similar cylinder, of about an inch
less in depth. The upper edge of this latter is turned over all round,
giving the two the appearance of being both of a piece. The whole is
closed by an ornamental cardboard cover, also cylindrical. If this
cover be lifted lightly--_i.e._, without pressure--it will come off
alone; but if its sides are pressed, they will clip the turned-over
edge of the upper or moveable compartment, and lift this with it. In
this form of the trick the borrowed watch is placed in a little bag,
and the two together deposited in the upper compartment. In the mortar
proper--_i.e._, the space between the two compartments--is placed
beforehand a similar little bag, containing the broken fragments of a
watch. The cover being under some pretext put on, the upper compartment
is lifted off with it, and the pounding consequently falls on the
prepared fragments.
[Illustration: FIG. 102.]
THE SNUFF-BOX VASE.--This is an apparatus of frequent use in Watch
Tricks, and it may be also made available with many other articles. It
is made of various sizes, from five to eight inches in height, and
of the shape shown in Fig. 102. It consists of three parts, the cover
_a_, the vase proper _c_, and a moveable portion _b_, the latter being
made with double sides, so that it fits at once in and upon _c_. If _a_
is raised without pressing its sides, it comes off alone; but if its
sides are pressed in removing it, it lifts off _b_ with it. In this
compartment _b_ is placed a small round box of tin or cardboard (from
which the vase derives its name), and another box, exactly similar
in appearance, is placed underneath _b_, inside the vase proper _c_.
Whether, therefore, the cover is removed with or without _b_, the
audience see apparently the same box within. The only circumstance that
could possibly excite suspicion would be the greater depth of _c_ as
compared with _b_; and this is obviated by making the bottom of _c_
moveable, resting on a spiral spring passing through the foot of the
apparatus. When _b_ is in the vase, the bottom of _c_ sinks down to
make way for it, but again rises by the pressure of the spring as soon
as _b_ is removed. To the eye of the spectator, therefore, the interior
of the vase appears always of the same depth.
Some vases are made with a “clip” action in the lid, so that by
slightly turning round the knob on the top three projecting teeth
of metal are made to tighten upon _b_, and thus attach it to _a_,
a reverse movement of the knob again releasing it. In this form of
the apparatus the cover may be lifted by the knob only, without the
necessity of pressing on the sides--a very decided improvement.
The snuff-box vase may be used to cause the appearance, disappearance,
or transformation of any article small enough to be contained in
one of the boxes within. Thus, in the case of the last trick, the
performer, having secretly obtained possession of the borrowed watch,
may, instead of using the loaf, conclude the trick with good effect as
follows:--Retiring for an instant in order to fetch the vase, he places
the watch in the small box contained in _c_. Returning, he removes the
cover only, thus exposing the interior of _b_, and requests one of the
audience to examine and replace the small box therein contained. The
box is seen by all to be empty, and, being replaced, the vase is again
covered. The operator now fires at the vase. Having done so, he again
brings it forward, but this time removes _b_ along with the cover. The
other box, which the audience take to be the same, is now exposed, and,
on being examined, is found to contain the restored watch.
If you do not happen to possess the watch-mortar or the magic pistol,
you may make the trick equally effective without them, by using in
their place the “Demon Handkerchief,” described at page 195. Having
borrowed the watch, you place a substitute (which you must have ready
palmed) under the handkerchief, and give it to some one to hold. Then
fetching the snuff-box vase (and concealing the watch in _c_), you
exhibit and replace the empty box in _b_, as above, and place the
vase on the table. Taking a corner of the handkerchief, you request
the person holding it to drop it when you count “three.” Then saying,
“One, two, three. Pass!” you wave the handkerchief, which appears to be
empty, and advancing to the table and uncovering the vase, show that
the watch is now in the box.
It is obvious that the snuff-box vase may equally well be used to
produce the opposite effect--_i.e._, after having openly placed a watch
or other article in either of the boxes, you may, by exposing in turn
the other box, cause it to apparently disappear, or in like manner make
it apparently change to any article previously placed in the second box.
THE WATCH BOX.--This is an oblong mahogany box--size, four inches by
three, and two and a half deep. To the eye of the uninitiated, it is
a simple wooden box, with lock and key, and padded within at top and
bottom. In reality, however, one of its sides is moveable, working on
a pivot. (_See_ Figs. 103, 104.) In its normal position, the side in
question is held fast by a catch projecting from the corresponding
edge of the bottom of the box. To release it, pressure in two places
is required--a pressure on the bottom of the box so as to lift the
catch, and a simultaneous pressure on the upper part of the moveable
side of the box, thus forcing the lower part outwards, and allowing the
watch or other article placed in the box, to fall into the hand of the
performer. For this purpose the box is held as shown in Fig. 103.
[Illustration: FIG. 103. FIG. 104.]
The manner of using the box is as follows: A borrowed watch is placed
in it, the owner being requested, in order to ensure its safe keeping,
himself to lock it up and keep the key. The performer places the box on
his table, in full view, but avails himself of the moment during which
his back is turned to the audience to extract the watch, as shown in
Fig. 103, and to again close the secret opening. Having thus gained
possession of the watch, he can conclude the trick by causing it to
re-appear in the snuff-box vase, or in any other way that he thinks
proper.
There is an improved watch box, the invention of the late M.
Robert-Houdin, which contains, concealed in the lid, a mechanical
arrangement producing a ticking sound, which may be set in motion and
again stopped at the pleasure of the performer. By using this box, the
watch may be heard apparently ticking inside until the very moment when
it is commanded by the operator to pass to some other apparatus.
THE WATCH TARGET.--This is in appearance an ordinary-looking round
target, of about twelve inches in diameter, and supported on an upright
pillar. It is painted in concentric circles, and on the bull’s-eye
is fixed a little hook. Its use is as follows: A watch having been
borrowed, and smashed to pieces or made to disappear altogether, as
before explained, the performer brings forward the target, which is
either held by the assistant or placed upon the magician’s table.
Producing the magic pistol, the performer proceeds to load it (visibly
or invisibly, according to the circumstances of the trick) with the
borrowed watch or the fragments thereof. Then, taking careful aim, he
fires at the target, when the borrowed watch is seen to alight on the
little hook already mentioned, whence it is removed and handed to the
owner.
A closer inspection of the target, which is sometimes of wood, but more
often of tin, japanned, would disclose the fact that the bull’s-eye is
moveable, revolving perpendicularly on its own axis. It is coloured
alike on both sides, and each side is provided with such a hook as
already mentioned, so that whichever side of the bull’s-eye is for
the time being level with the face of the target, no difference is
perceptible to the spectator. There is a little projecting pin, or
stop, at one point of the diameter of the bull’s-eye, which prevents
its making more than a half revolution, and a little spiral spring,
attached to one of the two pivots on which it moves, compels it to
turn, when at liberty, always in one particular direction until stopped
by the pin, so that its normal condition is to have one particular
side, which we will call, for greater clearness, side _a_, always
turned towards the face of the target. The bull’s-eye may, however, be
turned round, so that the opposite side, _b_, is towards the face of
the target, and there is a little catch which retains it as so turned;
but the instant the catch is withdrawn, the action of the spring makes
it fly round again to its old position. The catch is released by
means of a stiff wire passing through the pillar on which the target
rests, and terminating in a round disc of metal in the foot. The mode
of connection between the wire and the catch varies according to the
fancy of the maker; but, whatever this may be, the catch is invariably
released by an _upward_ pressure of the disc from below. If the target
is held in the hand of the assistant, this is effected by the direct
pressure of the fingers; but in stage performances, where the target
is placed on a table, this, as indeed almost every other mechanical
piece, is set in motion by the upward movement of a wire rod (known as
a piston), made, by the pulling of a string, to rise through the upper
surface of the table.
When the target is required for use, the bull’s-eye is twisted round,
so that the side _a_ is turned towards the back, and in this position
it is fixed by the catch. The borrowed watch is then hooked on the
same side of the bull’s eye. The assistant, in bringing forward the
target, takes care to keep the face turned towards the spectators, so
that the watch, being behind, is unseen. At the moment of firing the
pistol the disc is pressed upwards, and the catch being thus withdrawn,
the bull’s-eye instantly spins round, and the side _a_, on which is
the watch, takes the place of side _b_ on the face of the target. The
movement is so instantaneous that the quickest eye cannot follow it,
and the explosion of the pistol at the same moment aids still further
to baffle the vigilance of the spectators, to whom it appears as if the
borrowed watch had really passed from the pistol to the face of the
target.
This forms an effective conclusion to the Watch-Mortar Trick, the
fragments (supposed to be those of the borrowed watch) being placed in
the pistol, and remaining there. Where the watch-box, above described,
is used, you merely go through the motion of taking the watch out,
invisibly, through the top of the box, and in like manner placing it in
the pistol.
THE MESMERISED WATCH. TO MAKE ANY WATCH A REPEATER.--This is a trick
which may be incidentally introduced with advantage in the course of
any illusion in which a borrowed watch is employed. The performer,
addressing the owner, asks carelessly, “Is this watch a repeater?” The
answer is in the negative, and the performer resumes, “Would you like
it to become a repeater? I have only to mesmerise it a little.” So
saying, he makes pretended mesmeric passes over the watch, every now
and then holding it to his ear. At last he says, “I think it will do
now. Let us try.” Taking the chain between his finger and thumb, he
lets the watch hang down at full length in front of him. “Come, watch,
oblige me by telling us the hour that last struck.” (We will suppose
that the time is twenty minutes to nine.) To the astonishment of all,
the watch chimes eight successive strokes, with a clear bell-like tone.
“Now the last quarter.” The watch chimes “two” and stops. “You see,
sir, that under the mesmeric influence your watch becomes a capital
repeater. Let us test its intelligence still further. Here is a pack
of cards; will you oblige me by drawing one. Now, watch, tell me what
card this gentleman has taken; and answer in the proper spiritualistic
fashion, by three strokes for ‘yes,’ and one for ‘no.’ Do you know the
card?” The watch chimes thrice. “Very good. Is it a club?” The watch
chimes once. “Is it a spade?” The watch again strikes once. “Is it a
heart?” The watch chimes three times. “The card is a heart, is it?
Now, will you tell us what heart?” The watch chimes seven, and stops.
“The watch declares that your card was the seven of hearts, sir. Is
that so?” The card is turned, and shown to have been correctly named.
Another card (say the queen of hearts) is now drawn. The watch names
the suit as before, but when ordered to name the particular card,
remains silent, and the performer therefore puts further questions.
“Is the card a plain card?” Answer, “No.” “It is a court card, is it?
Well, is it the knave?” Answer, “No.” “Is it the queen?” “Yes.” Other
questions may in like manner be put, _e.g._, as to the number thrown
by a pair of dice. The watch is at any moment handed for inspection,
and if any suggestion of special mechanism be made, a second watch is
borrowed, and mesmerised with the like result.
[Illustration: FIG. 105.]
The secret lies in the use of an ingenious little piece of apparatus,
which is placed in the waistcoat pocket of the performer, and from
which the sound proceeds. This apparatus, which is represented in Fig.
105, consists of a short brass cylinder (about an inch and a quarter in
depth, and two inches in diameter), containing a small clock-bell, with
the necessary striking mechanism, which is wound up beforehand with
a key, after the manner of a watch. This mechanism is set in motion
by pressure on the button _a_, the hammer continuing to strike as long
as the pressure is continued, but ceasing as soon as the pressure is
removed. The cylinder, which is perforated all round, in order to give
free passage to the sound, is placed upright in the left pocket of the
performer’s waistcoat, which should be just so tight around the ribs
that the mere expansion of the chest shall cause the necessary pressure
against the button _a_, the pressure ceasing when the chest is again
contracted. (The placing of a playing-card in the pocket for _a_ to
rest against will be found to facilitate the arrangement.) This is the
whole of the secret. In working the trick the performer has only to
take care to hold the watch in a tolerably straight line between the
pocket and the audience, when, the line in which the sound travels
being the same as if it actually came from the watch, it will be almost
impossible to detect the deception.
Some performers, instead of placing the apparatus in the pocket, as
above described, hold it in the right hand (the wand being held in the
same hand) and cause it to strike by the pressure of the fingers. This
is in one sense less effective, inasmuch as you cannot show the hands
empty, but it is a very much more easy and certain method, so far as
the striking is concerned.
The striking apparatus is generally made to give from fifty to sixty
strokes. The performer must be careful not to prolong the trick until
the whole are expended, or the unexpected silence of the watch may
place him in an embarrassing position.
It is hardly necessary to remark that the drawn cards are forced. Where
the watch is made to disclose the numbers thrown by a pair of dice,
the dice are either loaded, and thus bound to indicate certain given
numbers, or a box is used in which a pair of previously-arranged dice
take the place, to the eyes of the audience, of the pair just thrown.
[Illustration]