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

by Edwin Thomas Sachs

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.