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

by Edwin Thomas Sachs

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: