Sleight of Hand: A Practical Manual of Legerdemain for Amateurs & Others

by Edwin Thomas Sachs

To Vanish a Plate.—This is considerably more ambitious than the preceding, and requires some confidence in one's powers. There are two methods, each differing only slightly from the other. In the one, the plate, which should be small, is taken in the hand, and apparently thrown up to the ceiling, but, instead, adroitly grasped by one leg, purposely extended, behind the knee, between the calf and the thigh. In the other method, the performer rises slightly from his seat, as if to make an extra vigorous throw, and the plate is slipped beneath him. Both methods are good; but it is essential to the success of either that the performer sits on the extreme outside of everyone else. Under any other circumstances, the requisite freedom of action cannot be obtained. So soon as the plate has disappeared, the conjuror should seize a napkin, wave it about, and find the plate in it. It must be distinctly understood that the leg which is to hold the plate during its concealment must be first brought round to the side of the chair on which the performer is sitting, and there doubled up slightly, so that there is just room to pass the plate between the calf and the thigh, which will then hold it tight. The learner must not expect to execute this vanish at the first attempt, but will require to practise considerably before arriving at anything like perfection of execution.

A primitive method for vanishing a plate is to place the left hand slightly behind the body, and with it receive the plate from the right hand. In this method, which can only be used when the performer is standing, the plate must immediately be found in someone's coat. Books, straw mats, knives, and other large articles can be made to disappear by any of the foregoing methods.

To Pass a Fork or Spoon through a Tumbler.—The foregoing successfully performed, take up a tumbler carelessly, and remark to the host that you notice that he has some of the "patent filter tumblers." Ignorance of the fact will, of course, be expressed, and you then proceed to show that the tumbler you hold has a hole through the bottom, by apparently passing the handle of a spoon or fork, or any other suitable article, through it. This diverting optical illusion is thus performed: Take the tumbler (empty) in the left hand, near the bottom, not in the ordinary way, as if about to drink from it, but in such a manner that it lies along the hand, the mouth towards the wrist. Take the article to be passed through the tumbler in the right hand, and, after thrusting it once or twice against the bottom, pass it between the hand and the outside of the glass, allowing two or three inches to protrude beyond the ends of the fingers. This simple action causes it to appear that the spoon handle, skewer, &c., has been passed through the bottom of the tumbler.

Permeable Plates.—Following up the idea of the patent filter tumblers, you can mention that you notice that the host has also the last new plate. Hold up a plate to the light and say, "Yes, I can distinctly see through it." Laughter will, of course, ensue, and you will offer to prove your assertion. To do this, make up three bread-paste balls about the size of those used in the cup and ball trick, of which this one is, indeed, only a variety. You will have an extra one concealed in the fingers, of course. Now take two plates, one in each hand, upside down, and held in such a manner that the ball in the fingers is concealed. Place them on the table, about a foot apart, and, by opening the fingers, allow the concealed ball to remain under one plate. Vanish a ball as in the cups and balls, and find it under the plate, repeating the process with all three balls, the one concealed being dropped each time the plate is replaced after raising it to show the one just passed through it. Now say that it is as easy to perform the feat with another plate, and take up the second one in the hand containing the concealed ball. Supposing this to be, as it generally will be, the right hand, it will now be taking up the plate on your left. Cross the arms, and, with the left hand, take hold of the plate on your right hand, allowing the fingers to extend well beneath it. Call attention to the fact that under the left-hand plate there is nothing, whilst under the right-hand one there are three balls; and then place the left-hand plate upon the table, with concealed ball under it. Then command one ball from the right-hand plate to pass under the left-hand one. With the fingers seize one ball of the three, and raise both plates. Now bring back the arms to their original positions, in order that the left hand, which contains one ball concealed, may be brought to the single ball, which is supposed to have been transferred from the right-hand side. Replace both plates, allowing concealed ball to fall from the left hand, and take up another, in the fingers of the right hand. Command a ball to pass, and raise plates as before. Re-cross the arms, and repeat the operation, when all three balls will have apparently passed from one side to the other. Without crossing the hands this would not be possible, and the reason you give for so doing is to show that it does not matter which plate is used, both being equally permeable. The learner must bear in mind that in this, the second phase of the trick, the two plates are never relinquished simultaneously. The hand picking up a ball cannot quite quit all hold on the plate, or detection would ensue. The plate having a ball passed beneath it can be released for the time from the hand entirely. The ball remaining concealed at the end can be dropped in the lap under cover of the plate. It is always as well to have one's handkerchief lying carelessly in one's lap, as it comes in very useful for concealing small things. By taking some cork balls in his pocket, the conjuror will avoid the necessity for using balls made of bread.

Such occasions as the one I have now assumed are the ones favourable for the introduction of the previously mentioned tricks with sugar and knives; and, if the performer has taken my advice, he will be provided with his disc of glass for the performance of the glass of water trick, also previously described.

Changing Dice.—It is also useful, on such occasions, to have in the pocket a pair of dice, rather smaller than those in general use, for the performance of the following trick. Place the dice, side by side, between the finger and thumb. This will leave two sides, back and front, open to view. Ask the spectators to note the numbers at the front, and then those at the back. Show each side two or three times, turning the hand over each time, and then give a slight twist with the finger and thumb, just sufficient to cause the dice to revolve the extent of one square only. This will bring different numbers to the back, whilst the front ones have apparently remained unaltered, as you will show, taking care to twist the dice back again to their original positions. The twist must be given as the hand is turned over, when it will be quite imperceptible to anyone. This is the first and simple phase of the trick; the second is more convincing still. It very frequently happens that someone says, "Ah! of course you turn them over." This you stoutly deny, and proceed at once to prove the fallacy of the idea that the dice move in your fingers. To do this, give the twist backward and forward each time the hand is turned over in what the spectators consider to be merely the preliminary to the actual trick. Then say, "Now, I will turn my hand over as slowly as possible, and ask some one to hold my fingers firmly so as to render it utterly impossible for me to move them." Of course, as the positions of the dice have been changed each time you turned your hand over, you have now only to keep them still to effect an alteration. This ruse invariably silences sceptics.

The trick is also capable of further development if the dice be properly arranged. By placing the two fives face to face, the numbers will read one-three, three-one, six-four, four-six. Hold the dice in the fingers so as to cover one three-one and one six-four. The visible numbers will then be six-four and three-one. Suppose the six-four is on the top, the twist of the fingers will expose the hidden six-four at the bottom, and the hidden three-one at the top. The two numbers will then appear to have completely changed places. The fact that, in one instance, the four and the one are where the six and the three were previously will not be noticed if the performer is careful to always call the numbers the same, viz., "Here we have six-four on the top and three-one at the bottom; six-four" (turn over), "three-one" (turn back), "change" (turn over), "three-one on the top, six-four on the bottom." A fresh combination can at once be obtained by placing any other numbers face to face, so that they be the same unit. This variation will be found very effective and dumbfounding.

To Cut a Person's Arm with a Knife, through the Coat, without Injuring the Cloth.—Turning to his next-door neighbour, who, I need scarcely say, must not be a lady, the performer seizes a knife and asks him whether he would like to have his arm cut. A bloodthirsty slash in the air will add emphasis to the question. The person questioned will invariably decline, with thanks, and the performer then affects to think that the reason for the negative is an objection to having the coat cut, and not on the score of any pain to be inflicted. He assures his neighbour, with great emphasis and earnestness, that any injury necessarily done to the cloth will be immediately remedied, and that no traces of a cut will remain. When it is begun to be realised that the cloth is not to be cut, a joke is anticipated, and consent to the operation will soon be obtained, especially if the performer alters his manner, and becomes persuasive. It is necessary, in order to invest the trick with interest, to work up a state of apprehension to begin with, as it is but a small thing in execution, and requires filling out. When the necessary consent has been obtained, the performer places a napkin or handkerchief over the biceps of his neighbour, and, introducing the knife underneath, commences to saw away at the arm. Presently the patient will give a sudden start, and, if at all weak-minded, he will shout "Oh!" as well. On being questioned, he will explain that he distinctly felt the knife cut into his arm, which is, indeed, precisely the feeling communicated to him. The secret of the trick is simply a common pin, which, under cover of the napkin or handkerchief, the performer takes from his vest, or wherever it may be concealed, in the left hand. Both hands are introduced under the napkin, the right hand sawing away with the knife, with the blunt side against the coat. Great care must be taken to employ a new knife, as old ones frequently have their backs rather sharp, and the cloth might be cut in reality. Press pretty firmly with the knife, sufficiently to make the patient feel it, and then gradually push the pin through close beside it, pushing only when pressure is put upon the knife. In time it will work through the clothing—a quantity of which rather assists the illusion—and, entering the flesh slightly, will cause a sensation precisely as though the arm really were cut. The performer at once stops, and either sticks the pin into the napkin or in its former place of concealment, or else drops it on the floor. The trick may be repeated upon other patients; indeed, it is not easy to appreciate it unless it has been actually performed upon one. The pin need only be dropped when the performer notices looks of suspicion directed at his fingers. He has others concealed about him, naturally. Black pins should be used as being less likely to be seen, especially when dropped; although so common an object as a pin upon the floor, even if noticed, would scarcely excite suspicion. Still, it is always best to think of every contingency, and provide for it, or, haply, experience may teach the lesson in a harsh manner.

Corks are generally handy at a dinner table (at set dinners tricks would scarcely be introduced), and, being easily palmed, form excellent media for small conjuring. The cork should be held by the tips of the first and fourth fingers, lengthwise, and it then palms right across the hand, the sharp edges (do not choose a ragged edged cork) giving a splendid hold, especially as the article is so light. Corks are very easily swallowed, being either placed (apparently) in the mouth by the hand palming them, or else put into the other hand first. Houdin used to regale himself at friends' houses by a dessert of corks, brought on in a sauce-boat or soup tureen, especially chosen because it concealed the hand when thrust in. The performer continually took out corks, dropping the ones palmed as he did so, until he had apparently eaten a dozen. A good deal of natural chewing should be indulged in, and the changes continually rung upon the various palms and passes taught in this book. Finally, the performer says he can eat no more, as he is full up. As evidence of this, he extracts from his ear the last cork he ate, and, after (apparently) replacing this in the bowl, he is taken with a spasm, and another cork is taken out of his mouth, the supposition being that it had been unable to find room below. It is, of course, rolled into the partially opened lips from the palm. It is quite open to the performer to reproduce a number of corks from his person in this way, when the company will imagine that he really secreted those he pretended to swallow. This effect will be heightened if the performer has gone to the dinner with half-a-dozen corks in his pocket. As a finale, he says: "The rest are here in my pocket," and produces them all at once, throwing them carelessly into the bowl. If he has performed the rest of the trick properly, the company will think him quite capable of secreting half-a-dozen corks in his pocket without being observed, no one dreaming for a moment of any previous arrangement.