Chapter XV: Miscellaneous (2)

_The Resuscitated Fowl._--This can either follow the trick just described, or it can form a separate trick altogether. It is very old, and has formed a portion of the stock performance of conjurors for hundreds of years. The head of a fowl is concealed in the hand, and a live bird seized. The conjuror engages in a mock struggle with it, endeavouring to seize its head, the object of the disturbance being to enable the real head to be turned down under one of the wings, and there held with one hand, and the loose head to be held on with the other hand, in its place. The stage assistant now advances with a large knife, and cuts off the imaginary head. The performer must make the deed as realistic as possible by causing the fowl to appear to struggle vehemently, and twitch its legs if possible. The head is then taken, and applied to the neck, the conjuror remarking that nothing is easier than to cause it to grow on again. Palm the loose head, and, at the same time, allow the real one to escape from its confinement, when it will at once appear to have suddenly grown on again. Release the fowl for a short run, to show that there is no mechanism about it. This trick is frequently performed by the very best conjurors, sometimes with a pigeon. The loose head must match the real one as nearly as possible, or the deception may be noticed.

_"Kling-Klang."_--This is a pretty little trick, and does not take long to perform. Take a fancy coloured silk handkerchief, of a small size, not more than a foot square, at the utmost. To the centre of this attach a _blown_ hen's egg by means of a piece of thread 2in. to 3in. long. The end of the thread inside the egg is attached to the centre of a tiny piece of wood, such as a portion of a match, which can be pushed in, end foremost, through the hole at the end of the egg, but which, when once inside, will steadfastly refuse to be pulled out again. This method is far better than all other devices with cobbler's wax and glue. Two other silk handkerchiefs, quite opposite, in point of colour, to the one attached to the egg, will also be required, as will a toddy glass with a foot, and an ordinary egg, not blown. The last-mentioned article must be vested. One of the two handkerchiefs of a like colour fold neatly in the palm, and in the same hand take the blown egg, and, as a natural consequence, the handkerchief attached to it, which arrange neatly around the egg, so as to conceal the handkerchief in the palm. Place the other handkerchief in the toddy glass, and, with the wand under arm, emerge thus laden from the secrecy of "behind the scenes." Give the glass and handkerchief to one person, and ask him to examine them both, and then take from him the glass, to be held by another person. Then say, "I have here another silk handkerchief and an egg. The egg I will place in this glass, and then cover it with the handkerchief." Proceed to do this, taking care to slip in the concealed handkerchief _under_ the egg, and then retire to the stage, taking with you the second of the duplicate handkerchiefs. As you go to the stage, bring down the egg from your vest, and take the handkerchief in the hand which contains it. Turn to the audience, and ask the holder of the glass to shake it gently to show that the egg is still inside. The peculiar "kling-klang" made by the egg against the glass gives the name to the trick. A caution from you not to shake too strongly, as you do not want an omelette inside the glass, is sure to amuse. Now bring both hands together in front of you, and commence to draw in the handkerchief little by little. At intervals have the glass shaken. When a few inches only of the handkerchief protrude from the hand, draw near the holder of the glass, whom desire to cease shaking. When you have drawn the handkerchief completely into the hands, and feel that it is perfectly concealed, ask a spectator to hold out his hand, and suddenly produce the egg, which give to him. Without losing a moment, raise the handkerchief from over the glass by its centre, thus removing the egg at the same time, taking care to continually tap the glass with the wand during the operation, otherwise an accidental knock of the egg against the side of the glass would be heard, and the whole trick spoilt. Call particular attention to the fact of the egg which you produce being a genuine one, and then get away with your other properties as fast as you decently can. The trick is mostly performed with an imitation egg, instead of a real one. The egg is hollow, and has a great opening in one side. Into this the handkerchief is forced. There is no sleight of hand about this, and the egg cannot be given for examination, which is fatal.

_The Harmless Shot._--Procure a substantial-looking muzzle-loading pistol, the larger the better, and get a tinman to make a tube that fits neither tightly nor loosely inside. One end of the tube must be closed, and the open end be furnished with a turn-over rim, which you colour or polish, so as to resemble as nearly as possible the muzzle of the pistol. If it comes easier, by all means reverse the process, and make the muzzle of the pistol resemble the muzzle of the tube. The tube should be at least two-thirds the length of the interior of the pistol barrel, and not about an inch and a half only. Now make a wooden ramrod, which will fit rather tightly into the tube--tightly enough to bring it away from the interior of the pistol when withdrawn after being rammed into it. The exterior of the tube should match the ramrod in colour and appearance, so that the fact of the one being within the other when held in the hand in that condition will not be detected.

Advance to the audience with the pistol, ramrod, powder, caps, paper, and bullets. The tube is concealed somewhere about you. Give round one or more bullets to be marked by the audience, and, at the same time, give the pistol into the hands of someone for examination. If the pistol takes to pieces, so much the better, as it is highly advantageous for the audience to be quite convinced that there is no mechanical preparation of the performer's own devising connected with the implement. Have a fair charge of powder put in, and give the ramrod for ramming the charge. Whilst this is being done, get the tube into the hand, and, when the ramrod is returned to you, pass it into the tube, and then at once say earnestly, "I hardly think you rammed it sufficiently, sir." Without taking the pistol yourself, hold the muzzle in the fingers of the left hand, and ram with the right. The left hand must pinch the rim of the tube, which will thereby become disengaged from the ramrod, and remain inside the pistol. By this means the tube has become inserted in the pistol without any occasion for the pistol leaving the possession of the person assisting. The bullet or bullets are then dropped in by such of the audience as have marked them, the pistol being handed round by the volunteer assistant, who is also asked to put a piece of paper in as well. This piece of paper is very small, and is rolled up by the performer himself, who will, of course, take particular care that it is not bulky enough to jam in the tube. The performer now, without taking the pistol, puts in the ramrod and presses down the bullets--apparently. He, however, takes good care to avoid pressing them at all, but brings the hand holding the ramrod over the muzzle of the pistol, and so secures the tube. There is nothing in the action to excite the least suspicion; still, it is best to have the ramrod of such length that only an inch or so of it protrudes from the muzzle. If this particular be observed, then the hand must approach the muzzle on every occasion of ramming down a charge, and so no suspicion can possibly be excited by the action. The imaginary ramming is, of course, continued, the tube being moved up and down inside the pistol vehemently. Withdraw the ramrod and tube, carefully concealing the junction of the two, and have the pistol capped. Having secured the bullets in the tube, the next thing is to get them into the hand. As it is impossible to withdraw the rod from the tube in full view of the audience (it can certainly be done behind the table; but the unavoidably lengthened absence of both hands for the purpose would be fatally suspicious), the performer must necessarily retire behind the scenes. The best excuse is that of requiring a plate. Whilst fetching this, the rod is withdrawn from the tube, and the bullet or bullets shaken out. The paper ought not to stick, but it might; and so it is always as well to have a piece of wire with a sharp hook at one end in readiness. This abstraction of the bullets could be managed whilst the performer retires up the stage, and it would be advisable to do so if the bullets were certain to drop out, which, however, they are not. When the performer has a stage assistant, as he always should have when possible, the matter becomes much easier. The assistant holds the box of caps on or near the stage, and the performer goes to him for them, and gives him the wand with the tube on it in an offhand manner. The assistant then manages all the abstraction whilst the capping of the pistol is going on, and stands, just removed from sight, with the plate in one hand and the bullets in the other. The performer then has only to stretch his arm behind to receive the bullets first and the plate next, both in one hand. The bullets are held under the fingers, which are on the inside of the plate. The performer now holds the plate either in front of his face or at arm's length, and requests that the pistol may be fired at it. When this is done, the bullets are allowed to roll on the plate, which is brought simultaneously into a horizontal position, a kind of "grab" being made with it, as if catching the bullets in the air. I like this method better than catching the bullets in the mouth, as the performer can at once run forward with them on the plate, and the audience will be thus enabled to see for themselves that no substitution has taken place during transit.

The difficulty of extracting the bullet or bullets I finally mastered, after various trials, by using a tolerably thick piece of cork for the purpose of closing the one end of the tube. When the performer retires up the stage, he holds the closed end in his hand and presses the ramrod against his body, thus forcing out cork, bullet, and paper with one vigorous push. The operation does not occupy a second, and, when the performer turns facing the audience again, the ramrod is in his hand as before. It will naturally occur to everybody that, if the ramrod fits tightly into the tube, the whole arrangement will be neither more nor less than a popgun, and the cork will be blown out as soon as the ramrod is inserted into the tube. To avoid such a startling result, the ramrod must, although fitting the tube at certain places, be made out of truth, so as to admit of an escape of air, or else the cork must have a hole burnt through it by means of red-hot wire. Piercing a hole through the cork will not suffice, as the nature of the material will speedily cause the opening to close up again. If this cork arrangement be used, then the performer need never leave the stage.

I have given the learner what I consider to be the best method for performing the trick. A method which differs only slightly from mine, the principle being the same, is to use a tube barely two inches in length. This tube is dropped into the pistol by the performer, who takes the pistol entirely in his hands, for the purpose of ramming down the powder charge. As it lies secreted a long way down the pistol, it, of course, can never be seen. In pushing the ramrod down, it becomes fixed in the tube, and brings it away, the ramrod being the least bit tapered, to insure its going into the tube. It should be tapered at each end, so that there may be no bother about looking to see which end is the graduating one. The rest of the trick is performed exactly as in the other method. My objections to the use of the short tube are that, in order to get it into the pistol, the performer must secure actual possession of the firearm, and he must repeat the manoeuvre when he wishes to take it out again. Again, it is very difficult to conceal the point of junction of a short tube on a long ramrod. If the performer does not use the utmost caution, the tube will be noticed sticking on the rod as they are withdrawn from the pistol. The rim of the long tube is covered with the hand before the abstraction is made, and added to this is the fact that the pistol never leaves the hand of the volunteer assistant, which is a great feature in the trick. The only objection to the long tube I found to be the difficulty sometimes arising in abstracting the bullets; but my cork has now removed that difficulty. I have given both methods that the learner may choose for himself. Although I have said "bullet or bullets," because some conjurors employ one only and some three or four, I should, myself, never think of using more than one. The effect is the same, whilst the trick is made immeasurably easier to the performer. People may, perhaps, be a little more satisfied at seeing several bullets marked by different people, but it is just as easy, and quite as effective, to have one bullet thus treated. It will not matter in the least to the performer how many people mark it.

Another method for performing the trick is to substitute for the marked bullet a blacklead one. This, on account of its lightness, the performer must himself drop into the pistol and see that it is so rammed that it is broken up. I would never advise anyone to adopt this method, although Houdin caused consternation amongst the Arabs by allowing himself to be fired at from a distance of a few paces. With his usual completeness he finished the trick by firing another pistol at a whitewashed wall, on which appeared a large splash of blood. This was managed by means of a ball of black wax, the inside of which was filled with blood. The Arabs were duly impressed.

There are some pistols made with spring openings in the barrel, through which the bullet falls into the hand of the performer; but, in this case, the pistol cannot be examined, which fact is quite sufficient to taboo the method. Unless the pistol is given to be examined, and left in the hands of the spectators the whole time, there is, in my opinion, nothing in the trick.

_A Bottle of Ginger Beer._--The reader will scarcely require to be told that one of the great deceits practised by conjurors is that of duplication. In order to apparently execute the impossibility of conveying a large solid body invisibly through space, the conjuror has to cause the article itself to disappear by any means at hand, and to produce another similar article, or counterfeit thereof, at the spot to which the original one is supposed to be magically transported. In the case of Houdin's die trick a counterfeit die was made use of, and in many of the coin tricks duplicate coins were employed. Whatever the article used, the method is almost invariably the same; and the public are often invited to witness the exhibition of a new wonder, which is in reality only a variety of what has been done in hundreds of ways before.

One very effective variety of this particular deceit is the transposition of a ginger-beer bottle from one paper cover to another. The trick and its explanation are as follows: The performer brings forward a ginger-beer bottle and a glass, on a tray. If he pleases, he may have two ginger-beer bottles, and ask the audience to choose between them. He should ask them to select between the one on the right and the one on the left. If "right" is said, and the one with which the trick is to be performed is on the left of the audience, then the performer must say, "On _my_ right. Thank you"; and instantly take up that bottle without more ado, and uncork it. He then pours out the ginger beer, to show that it is genuine--so he says, but the real object is to keep the spectators from suspecting that there is anything "uncanny" about the bottle itself. The peculiarity of the bottle is that it either never had a bottom to it, or else that portion of it has been forcibly removed. Some few conjuring trick makers supply bottles without bottoms; but any lapidary will perform the desired operation should the performer himself be unsuccessful in accomplishing it with a hammer. The chief thing is to obtain two bottles that match exactly in colour. Height is not of much consequence, as that is not so readily retained by the eye as is colour; still, it is as well to have them match in that even, but colour stands first in importance. One of these bottles is placed upon the right-hand side of the shelf behind the table, and the other is fitted inside with either a piece of thick cork or gutta-percha. Whichever it is, it must fit very tightly, and be situated about an inch from the foot of the bottle. The cork must be left out until the last minute, or the fermentation of the ginger beer will cause the false bottom to come out unexpectedly with a "pop." This prepared bottle is the one that is brought on on the tray, with or without another genuine one, as the performer pleases. When two are brought on, the second one should always be left with the audience for them to open if they be so minded. It is sure to be examined with strict minuteness, and its unblemished innocence will reflect upon its late companion.

Under his vest band the performer has a small apple, a walnut, or little ball. This he gets down as he retires to the table, and slips it in the lower cavity of the bottle, holding it there suspended by means of the little finger. He then places the bottle upon the left-hand front corner of the table, and on the corresponding corner he places a duplicate of the article which he has secretly introduced under the bottle. This duplicate will have been lying on the table all the time, and can, of course, be examined. The performer now takes two cardboard or paper covers, each just large enough to cover a ginger-beer bottle easily, and shows them round. These covers can be made with very little trouble, and the plainer they are the better, in my opinion. Spectators think no more of a trick because of a cover of many colours covered with gold or silver stars. A fancy paper on the outside is all that is required, for it will not do to look "beggarly." These two covers are now taken back, and the performer goes behind his table. With the left hand he places one cover very slowly and deliberately over the bottle, and calls very particular attention to what he is doing. The cover in the right hand is meanwhile being placed over the bottle on the shelf. The conjuror's whole attention, eyes and everything, must be engrossed on what he is doing with the bottle which is visible. Any glance which he may want to take for ascertaining the exact position of the bottle on the shelf must take place as he goes behind the table; any downward look after this would be fatal. Directly it is felt that the hidden bottle is safe in the cover, the latter must be brought into view again; and care must be taken that it is held a little obliquely, the mouth being towards the performer. As an additional security, it is always as well to have the inside of the covers blackened, or lined with black paper, and the inside and base of the second bottle treated likewise. Any accidental exposure will then not be so likely to be attended by serious results.

When the first cover is fairly over the bottle, the second one, containing the other bottle, is placed over the little ball, or whatever it is. The performer next takes up his wand and says, "Now, what I am about to do is to cause the ginger-beer bottle and the little ball to change places. This, I am aware, anyone can do by simply lifting off the covers and altering the positions of the articles with the hand; but I shall do nothing so transparent. I will show you that the articles are still where I placed them, and that I have not already moved them from their positions." (The covers are alternately lifted, care being taken not to prematurely expose the wrong article.) "My method of procedure is as follows: First, I take out the little ball" (on the shelf there is a third article, similar to the other two, and this the performer palms in the left hand) "in this manner. You see, I simply run my wand up the side of the cover, and here I have the little ball in my hand." (Strike left hand with wand, and open it and put the ball on table.) "This cover is now empty. By means of my wand, I remove the ginger-beer bottle, large and cumbrous as it is, from the cover--here it is, see, on my wand!--and pass it gently, for fear of breakages, into the empty cover. This little ball I take thus, and pass into this cover, where the bottle was, not five seconds since." (Perform any pass with the ball, and put it back upon the shelf.) "On raising the covers, it will be seen that the change has actually taken place." Raise the left-hand cover first, grasping it firmly so as to ensure the bottle from slipping, and then show the second bottle on the right, bringing the left hand, at the same time, over the shelf, upon which the first bottle is permitted to drop, very gently, from the cover. Both covers should be afterwards shown round, although the trick can be repeated, i.e., done backwards, if the performer desires. If he does so, he should say, "Ah, I daresay everybody did not see how that was done, and, as I always like the method of my tricks to be understood by everybody, I will do it over again. There is no fun in a trick if one does not see how it is done." On removing the bottles at the close of the trick, care must be taken that the hidden ball, &c., is not knocked down on the floor, as is sometimes done by accident. This is a genuinely good trick, the opening of the ginger-beer bottle before the audience serving to throw that body off its guard.

_The Flying Plume and Seed._--This is another trick in which duplicated representations play an important part, but the articles and methods employed are so totally distinct from those used in the preceding trick that one might follow the other in a performance, and yet both appear to be totally distinct in every way. There is a little simple apparatus in connection with the trick. First of all, a tin tube, 18in. long, and at least 1-1/2in. in diameter. It is provided with a cap at each end, fitting inside, and not over, as is usual. The tube also possesses the peculiarity of being divided longitudinally, by a tin partition, into two portions. This partition does not run down the centre of the tube, but takes a transverse direction from one side of one end to the opposite side of the other end. By this means, both ends are open to their full extent, and the tube can be shown briskly round, with the cap off, without anyone being able to detect anything wrong. Of course, only one end will be given for inspection, the audience not suspecting the existence of more than one opening.

Then there is a vase, also of tin, but painted on the outside or japanned. This vase has a foot about 3in. high, which is hollow, and is connected with the body of the vase by means of a very large hole. This hole is hidden by a large domed cap on the end of a pin, which runs through the foot, and is furnished with a button underneath. A spiral spring inside keeps the cap down on the hole, but pressure on the button under the foot causes it to rise, and any seed that may be in the body of the vase will instantly run down into the foot. Two plumes of exactly the same colour and length will also be required. These plumes can be obtained at a cheap rate at any plumassier's. One of the compartments of the tube is secretly filled with seed, and the end opening that division is closed with the cap. This cap should bear a distinct mark to distinguish it from the other. In the vase there should be an egg, orange, lemon, or apple, &c., which must not be seen by the audience, and on the table there should be another similar article. Up the performer's sleeve, or in his side pocket, one of the plumes is secreted. The other plume is handed round and then thrust down the tube, which, to all appearances, it entirely fills. Place the tube on a chair or on the floor, and then take the vase, and into it pour a quantity of seed, going forward so soon as the article at the bottom is covered. Show the vase round full of seed, and then place it on another chair, the button being pressed and all the seed allowed to run away in transit.

Now borrow either a hat or a handkerchief. If the plume is up the sleeve, then a handkerchief is required. Spread the handkerchief over the hand, as if showing there is nothing in it, and seize the end of the plume through it with the other hand. Draw the handkerchief smartly away with the plume inside it, and throw both on the floor. If the plume is in the pocket, then borrow a hat and slip the plume into it. The plume will curl round inside the hat, and remain firmly fixed, so the hat can be turned brim downwards without fear of the plume falling out.

These preliminaries concluded, proceed as follows: Touch the tube with the wand and say you have taken out the plume, which you then "pass" into the hat or handkerchief, as the case may be. Now touch the vase with the wand, and say that you have removed all the seed, which you then command to go into the tube. Vanish the egg, or whatever it may be that you use, down a trap, and "pass" it into the vase. Nothing then remains but to open the tube, and to show the vase and handkerchief or hat. Millet is by far the best seed to use. It is light, and its spherical shape causes it to run smoothly. A conjuror, who was experienced enough to know better, persistently used rice for this trick. The result was extra delay, for the rice generally managed to clog somewhere, and always made a tell-tale rattling as it trickled into the foot. It made one tremble to look and listen. The trick is very easily managed, and creates a remarkably pretty effect. The conjuring shops supply the apparatus.

_How to Make and Cook a Pudding in a Hat._--Procure a large size gallipot with nice thin sides. Have a tin lining made to fit the inside of this, and divide the lining into two portions by means of a horizontal division across the middle. The inside of a gallipot being somewhat narrower at the bottom than it is at the top, the lining will be taper, and consequently one partition will be larger than the other. Into the larger partition put a plum pudding, or cake, hot, and stand it on the shelf, without the gallipot. Borrow a hat, and, whilst busy about putting some paper at the bottom of it, and explaining that it is to prevent its being spoilt, take an opportunity of slipping the tin containing the pudding into it. Now take some flour, eggs, plums, sugar, and water, and mix them all up in the gallipot, to the accompaniment of some facetious remarks about your being a first-rate cook. Next pour the paste from the gallipot into the empty division of the tin, and, putting the pot momentarily into the hat, press it down well over the tin, which it will bring away, leaving the pudding alone behind. Now hold the hat over a spirit lamp (a candle would spoil the hat), and profess to be cooking the contents, which presently take out close to the audience and distribute. Some conjurors make omelettes and pancakes, which certainly make a good show, and are suggestive of being cooked on the crown of a hat. Some address is required in executing this trick, especially in getting the tin into and out of the hat. The knack of putting things into hats from the shelf neatly is one of the most difficult things to acquire, and the performer must never be nervous at the moment, or he will be certain to allow himself to be discovered. Sometimes the egg is first broken into the hat (_i.e._, the tin), and the flour and water afterwards mixed up in the gallipot. The effect of the contents of an egg dropping into a hat is certainly good.

An amusing interlude, when borrowing a hat, is to apparently push the forefinger through the crown and then restore the hole supposed to be made by the act. This deception is managed by having a cast of a human forefinger made in either wax, gutta-percha, or plaster, and provided with a pointed wire at the thick end. This finger is concealed in the right hand, and the left hand put inside the hat. The right hand is then brought on the outside of the crown, and with the remark, "I fancy you have a hole in your hat, sir," an apparent effort is made, and a finger shown protruding through the crown. All that is done is to pass through the wire, which is held on the inside by the left hand. After making a few sharp movements simulating a finger in the act of being shaken, bring the right hand on to the crown again, and make as though considerable exertion were required in order to get the finger back again. The dummy is, of course, merely secured in the right hand, and the hat immediately shown ostentatiously round, so as to keep attention away from the right hand. The imitation finger must naturally be coloured to resemble the performer's flesh. The trick must not last long--a quarter of a minute is ample. If the finger remains through the hat for any length of time the audience will soon realise what the nature of the deception is. It should appear as if the finger had been just pushed through, shaken derisively, and then withdrawn.

_The Flags of Old England._--Without any visible preparation, and from no conceivable source, the performer produces hundreds of flags with the hands. The flags, which can, of course, be of any colour, but, for obvious reasons, should be red, white, and blue, for preference, are thus made quickly: Procure some sheets of tissue paper, and cut them into slips of equal dimensions. A good size to commence with is 3in. by 1-1/2in., three of which will make a flag of 4in. by 3in., a very nice size. For rapid pasting, place, say, the red slips one over the other, each one permitting just a quarter of an inch of the one beneath it to be seen. With one sweep of the brush a large number can be thus pasted. Perform the same operation with the blue papers, and the white ones will not require any paste at all. Join the three together, and, when dry, paste them on either very thin sticks or wire, or else on bass. The latter is far preferable to any other substance, and can be easily procured. Now make some flags about 6in. by 4in. in the same manner, and, if you choose, a few even larger still. Roll them all up very tightly in two or three bundles, and secrete them about you. I always place a bundle of small flags up each sleeve, the larger ones being either in the vest or in the large breast pocket of the coat. Take a little flag in each hand, and advance with them. Wave them about, and, lowering one hand, allow the bundle to slide into it from the sleeve, care being taken that the back of the hand is towards the audience. Bring the hands together immediately, and continue to wave them about for a few seconds, when commence to unroll the flags, and cause a few to appear first at the top, and then to fall on to the floor. Continue this, all the time moving about, until you find the supply getting low, when, with a downward sweep of the hands, extract the bundle from the other sleeve. This movement will be perfectly concealed by the numerous flags flying about. It will also be perfectly easy to obtain possession of the other bundles from the vest or pocket, if care be taken to raise the flags that are being exhibited, so as to conceal the motion of the hand. When the larger flags are being unravelled, the waving should increase. The effect of a quantity of flags coming from apparently nowhere is always very bewildering to an audience, and this is heightened when the larger ones appear. I remember producing one quite 8ft. in length, with a complimentary motto, allusive to the season of the year, elaborated upon it. There is, however, no necessity to go to such a length as this. Buatier, instead of two flags to commence with, takes a bundle of coloured paper, which he rolls up, and then pretends to transform into flags. This is not at all a bad method, and, if the performer prefers it to my own, there is no harm in adopting it. Buatier decidedly makes a mistake, though, in producing the original paper after he has manufactured several hundreds of flags from it. This is not consistent.

_The Chinese Rings._--Whether originally Chinese or not, is of little moment: the trick has received the name, and is known by it only, so I adhere to it. The trick consists in apparently accomplishing the evident impossibility of linking strong metal rings, that have no break or opening in them, one within the other. The secret of the trick lies in the fact that one of a number of rings is provided with a slit or opening, which is kept carefully concealed by the performer's fingers. As, however, one ring with an opening would not alone suffice to link several others together in a continuous chain, the rings are made in sets of three and two welded together, besides three or four single ones. The set of two I always dispense with as useless. There is not the slightest necessity for going to a conjuring repository to obtain the rings, for an ordinary smith can produce a much more serviceable article. My idea of a good ring is one made of iron wire fully 3/8in. in thickness and 9in. in diameter. Let the metal be well burnished, and see that the welding is properly done. The opening in the one ring should be 7/16in. wide so as to admit the other rings freely. Some rings have a slit merely, whilst others have the ends springing one into the other. These precautions are quite unnecessary, for the secret ring is never given round for examination. When the performer comes on, he has the open ring concealed either under his armpit, in his breast pocket, or in the vest; or he may have it hanging behind a chair, if he has one with an opaque back on the stage. The other rings he has in the hand, and gives them round for examination. Unless this examination takes place, there is nothing in the trick, for the audience would justly argue that all the rings have secret spring-bolt openings which are invisible at a short distance. To abstract the concealed ring without detection requires, at times, considerable address. A good way is to allow some of the others to fall, and whilst stooping quickly for them, get out the concealed one. Turning the back upon the audience, and deliberately taking the ring out from its place of concealment whilst walking towards the stage, is the method I usually adopt. When it is hung at the back of a chair, the bulk of the rings should be placed upon the seat, and two or three taken up in one hand; say, the right. In stooping to pick up some more rings with the left hand, the right, naturally enough, finds its way to the top of the back of the chair, and, as the ring will be suspended half an inch down, the end of one finger will be sufficient to obtain it.

I lay some stress upon this recovery of the open ring, for in its neat execution lies the whole secret of the trick. If the performer feels that he has accomplished the feat without being observed, he may boldly assert that he knows that other conjurors perform the same trick with prepared rings--he does nothing so mean and despicable. As a rule, I disagree with any hint whatever that may give a clue to the secret of a trick; but this particular one is so widely known that I doubt if an audience of ordinary size could be found with everyone ignorant of its secret. Under these circumstances, the conjuror who wishes for success must be different to everyone else. If he is not "prepared to do or die," let him leave the Chinese rings alone.

The method of "working" the trick is to first take up the open ring and one of the single ones, one in each hand. Unless the performer be left-handed, or ambidextrous, it is always advisable to hold the open ring in the right hand, the opening being between the finger and thumb. Stand at the front of the stage (if there are side boxes, then a little back), and let the open ring hang carelessly on the thumb, only broadside on to the audience. By turning up the point of the thumb ever so little, the opening is rendered quite invisible to spectators, who will think that two perfect rings are being held before them, they having no possible reason to suspect even that an open ring is anywhere about. Bang the two rings together several times, and pretend to make two or three attempts to fit one into the other, by what precise movement does not matter in the least.

Presently slip the solid ring rapidly through the opening of the other, without ceasing for an instant the movements you have hitherto made, which continue as if the two rings were still apart. Soon you will work the two close together, and, by degrees, bring round the solid ring to the bottom of the open one, and then allow it to hang from it. Be careful, however, that the opening is never so much as approached by the solid ring after the latter has been passed through it. By a reversal of the proceedings, the ring must be taken off again, the two rings being held touching one another, and worked about as if still linked, long after the actual detachment has taken place. The audience are supposed to actually see one ring pass through the other, and the performer must cause this to appear to be done at the lower half of the open ring. Performers always make a grand mistake in hurrying over this, the opening part of the trick, which is really the most important part of it. Within reasonable bounds, the linking of the two first rings cannot be much too long drawn out. If he be possessed of sufficient daring, the performer may advance to one of the audience with the two rings linked, and give him one of them (the solid one, of course) to hold. Just as the ring is put into his hand, the disconnection should take place. This is an interlude, which the performer may use or not, according to how he feels in spirits, for conjurors are like race-horses, and are at times "in" or "out of form." Two loose rings can then be put on the open one, one at a time, and then removed and held together. The open ring can be passed over the arm out of the way, the opening being, of course, concealed, and some "business" can be gone through with the other two, which, as they never were together, can be separated without much difficulty.

Some conjurors become breathless at the bare idea of allowing the open ring to leave the hand, whereas, when properly managed, there is not the least danger to be apprehended. When the ring is passed over the arm, the hand does not leave the opening until it is well embedded inside the elbow joint. It is bad policy to hold one ring continually in the hand, as the fact is extremely likely to be noticed. When a few evolutions have been performed with the single rings, including throwing one in the air and catching it on the open ring on its descent, the triplets should be taken up, and, after plenty of shaking about and turning round and over, an end one should be linked on. By linking up the other end as well, a square is formed. Give two rings of this to be held by different people, and tell them to pull. Give one or two jerks yourself, and at one of them disconnect, and then gradually appear to unlink the square, bringing, at last, the four in a single chain. Make a lot more flourishes, but merely bring the four side by side in one hand, hanging. Hold the open ring firmly, and allow the others to drop steadily. This they will do in two distinct stages or jerks, at each of which you make a movement with the disengaged hand as if controlling them. As a finish, it is usual to put all the rings in a bunch on the open one. When this is done, one of the solid rings should be made to sustain the rest for a short time in place of the open one, which may be allowed to hang down in the rear of the others, where it will not be seen. The solid ring thus temporarily used should be held alternately in several places, so that the audience, and especially such as know the secret of the trick, may see that there is actually no opening it. This is an excellent _ruse_ to adopt. When performing with the rings, always make a deal of clatter with them; it adds to the effect. An effective _finale_ is to grasp the open ring by the solid part immediately opposite the opening, and, turning the whole bunch rapidly over, shake the other rings loose upon the floor, dropping the open ring amongst the rest. The apparent recklessness of this goes still further to disarm suspicion as to an open ring.

It will be seen that, beyond obtaining the open ring, everything is what is understood as "hankey-pankey"--in fact, downright humbug--but it is humbug of a superior order. The performer who introduces it injudiciously and unskilfully will have reason to regret any imperfect study of this trick. There is not much true sleight of hand in it, but the perfection of "address" will be required.

_The Drawer-Box._--This is not the name of a trick, but of one of the most useful pieces of apparatus which a conjuror can possess. I have purposely refrained from making any mention of it before, because I wanted to make the beginner an adept at vanishing and producing with his hands before I gave him an article that would save him the trouble at the loss of a large amount of effect. When a person is able to do considerable execution with his hands alone, there need be no anxiety about giving apparatus into them. It is only with the beginner that the danger lies, for he will say, "Oh! this box does all I want--at least, quite well enough for me--so why should I take the trouble to learn to do it without?" The expert is never too anxious to use apparatus, and invariably manages with as little of it as he can.

Now, the drawer-box is an article of such peculiar handiness on so many occasions, that the temptation held out to beginners to use it frequently is too great to be resisted. It will bear a cursory examination, and yet, although crammed with any kind of article to its fullest extent, it is made to appear quite empty, by merely being shut and re-opened, and this in the midst of the audience; or the operation may, with modifications, be reversed, and the box shown first empty, and then full.

Most of us must have seen the little cigar-case which is so handy to smokers who wish to keep a good brand of cigar to themselves. The drawer-box is made on exactly the same principle as this, only, of course, in an enlarged form, and in wood.

The appended sketches (Figs. 51 and 52) show the apparatus. I give a minute description of it here, as it is only in very large towns that the article is procurable, made in the manner it should be, so the conjuror can either get a cabinet maker to make him one, or, if he be anything of a carpenter, make one for himself.

A (Fig. 51) is a lightly-made drawer, without any back end, and fits somewhat easily into F (Fig. 52), which should be made of 3/8in. stuff, and strongly put together. B is another lightly-made drawer, smaller than A, into which it fits. A has a narrow combing all round the upper surface of the front end and sides. This serves to conceal the presence of B, which in reality looks like the inside of A. To perfect this deception, the open sides of A are, as depicted in sketch, made with mortises, and the end of B being allowed to extend a little each side, and also mortised, the two dovetail one into the other, and present a most innocent appearance. The knob D is not fixed, but has a slight perpendicular play. It is connected with a piece of flat metal, which extends from the knob to the upper portion of the wood, inside the combing, where it is furnished with a catch, which can be made by turning over the end of the metal and sharpening it a little. In B there is a slight incision made at C. When B is pushed home into A, and the knob D pressed downwards, the catch fixes itself into C, and thus keeps the two drawers firmly together. The action of shifting the knob up and down is very slight indeed, a 1/4in., or, at the outside, 1/3in. play being ample. When the two drawers are thus fixed, they may be shown round, and no one not in the secret will suspect that there is more than one drawer. The more care and attention that is paid in fitting the drawers nicely together, the better.

At the lower part of the back end of B will be noticed a protruding piece of wood, E. This fits closely against A when the two are closed together, but it plays an important part in the working of the box. In the body, F (Fig. 52), is cut a square hole, immediately under the point where the thumb is seen to be pressing. G is a flat spring let into the bottom of F, and fixed at the end farthest removed from the square hole. A square piece of wood, the same thickness as the bottom of the body F, and slightly smaller than the hole, is glued firmly on the free end of the spring, so that it is always in the hole. The exterior of the box should be painted or French polished, and the bottom covered with baize or cloth. The material should be glued on, the space covering the spring, and half an inch all round it, being left free. The apparatus is then ready for use, and is thus "worked": We will suppose that it is required to cause several apples to disappear. The drawer A, with B inside it, and the knob pressed firmly down, is shown in one hand, and the body F in the other. The apples are then put into A (really into B), which is then pushed into F. After the performer has pretended to extract the apples by magical means, he takes up the box with both hands, one hand grasping one end, with the thumb on the spring G (Fig. 52), and the other hand seizing the knob D, which it presses upwards, thus removing the catch from the slit C. With the thumb pressing as hard as possible on the spring, the drawer A is pulled out. The square piece of wood on the end of the spring G, being pressed inside the box, causes an obstruction to the inner drawer B through the medium of the protrusion E, and B is consequently held back in F. The drawer A, which is, after all, merely an outer shell, is shown instead, and the audience, not knowing of the existence of a double drawer, imagine that the one shown them is the one which they saw filled with apples. When the box is opened, it should be held sideways, with the top turned towards the audience, and when it contains such articles as apples, which easily shift in a very audible manner, it should be placed in this position on the table, before the contents are made to disappear. It would be stupid to pull out an empty drawer and then cause a rumbling to be heard. The audience would at once divine that the articles were kept back in the body of the box by some means.

When the box is made so large that the hand cannot grasp it in the manner shown at Fig. 52, the closed end should be furnished with a knob matching that on the drawer A. This can then be held by the fingers, and so enable the thumb to find a purchase.

A very good box is one made without the spring acted upon by the thumb. In its place is a loose metal peg, which drops in and out of the hole in the double drawer by the mere tilting of the box. This style of box is best made with both ends of the cover open, an increased appearance of innocence being thereby secured.