Hanky Panky

THE SKIPPING-ROPE TRICK.

Provide a skipping-rope, and, having had your wrists firmly bound together, let the person who thus tied your hands pass one end of the rope between your arms and join its ends, by which act the cord and your united arms will form two endless links or rings, to separate which, and instantaneously, will seem materially impossible.

However, it can be done.

Pull at the cord as if to make sure it is held fast, and, while so doing, catch between the wrists the part of the rope that happens to be there, and work the rope up so as to get the looped end through the handkerchief in your hands. Through this loop pass your left hand. Turn slightly to the right and jerk the rope a little, when it will fall to the floor, while your hands remain attached.

In the couple of seconds which this feat requires, move your hands up and down mysteriously, to baffle the attention of the bystanders on what you are doing.

TO RESTORE A CUT STRING.

Having a piece of string, with the ends tied, run one hand through each end, twist it once round (Fig. 21), and put both ends into the left hand. Draw the right hand quickly along the double strings to where the strings cross, and conceal the join with the right thumb and forefinger (Fig. 22).

Hold the strings in the same way with the left hand, and let some one cut the string between them. You show that the string has been divided into two pieces, and assert that you can join them by mastication. Put all four ends into your mouth, and remove with your tongue the little cut off loop.

When you take the string out of your mouth no one will notice the absence of so small a portion of its length, and will fancy that you really have joined them. Take an opportunity of getting rid of the fragment you retained in your mouth.

TO CUT THE BRAID OF A BUTTONHOLE WITHOUT LEAVING A MARK.

Tie the ends of two feet of string together. Put it through a button-hole of your coat (or the ring of a key in the door); stick one thumb in each end, and each little finger in the upper string of the other hand. Draw out the hands, and present the figure traced in the illustration.

Let go with the right thumb and left little finger, and thrust your hands quickly apart, when you will seem to have pulled the string through the braid of the button-hole, and yet there will be no trace of the passage. It is best, when you let go with the right thumb, to change the string from the right little finger to it.

THE DEMON CORD.

Saw a tube in half lengthwise, and at one end mount a grooved wheel, over which passes the bight of a cord, with its two ends passing out of the hollow cylinder at the sides of the other end. Tint one half of the cord a different colour from the other, close it in; varnish well to hide the crack, and your trick is complete.

The cord seems to have the chameleon property of changing its hue.

TO TIE A KNOT ON ONE WRIST WITHOUT THE TOUCH OF THE OTHER HAND.

Take a yard of whipcord, or stout fishing-line, one end in each hand, and with the right throw a loop over upon the left hand. Instantly draw back the right hand to tighten the loop, and let go both ends the moment the knot has been made.

TO CUT YOUR NOSE OFF WITH A STRING.

Tie the ends of twelve or fifteen inches of string together, and make a loop, as shown in the illustration.

Place the loop in the teeth at A. Put the right forefinger in loop B, holding the other bight (or bend), C, on the left forefinger, as in the second illustration.

With the right forefinger remove the loop B, by raising it over the string D, and carrying it under that string. Put the top of the forefinger (the loop B being on it) on the tip of the nose.

THE MARVELLOUS RELEASE.

A ponderous ladder, composed of three uprights and crossbeams, is drawn in upon the stage, and inspected, as well as a new rope, by one of the company, and pronounced solid. The Magician’s assistant is then bound to the centre post, and all the knots are sealed by one of the spectators. A light basket-work shade, covered with canvas, is put on over all, and in a few seconds the man is found tied as before, but without his coat. On being concealed and discovered again he is found completely freed, and the rope on the stand without a seal being broken.

Explanation.—The centre post is apparently quite firmly bolted into the cross pieces, but in reality the screw heads have no pin attached except one, which is withdrawn by the tied man, who has his hands bound behind him just where he wishes to use them. On being unpinned, the beam drops down into a socket in the stand, and the rope can be pulled through the open space. The sealing of the knots keeps the ropes in their place.

A chair can be constructed in the same manner, and, if the deception be practised in a dark cabinet, one of the Davenport Brothers’ feats can be imitated.

THE MAGIC UNTYING.

Give one end of a yard of strong, stiff, smooth twine to a person to hold, while you retain the other in your right hand. Put your left hand under the twine, half way between the ends, and make a single tie (or, in sailor phrase, a half hitch) over the string between your left hand and the end A in the illustration.

Draw the tie close but not tight over the left hand, B being the tie. Open out the left hand so that, when closed, the loop will be loose on the hand. Pass the end in the right hand over the left palm on the inside of the string already there, and make another single tie over the string at the same place as where you formed the first one, closing your left hand, which loosens the strings around its fingers. After the tie, pass the twine under the back of the left hand, between the strings C and D (in the second illustration) Fig. 30.

The dotted line E is the string A. Take that string up on the left hand fingers as in the third illustration.

By practice this can be done unseen by the lookers on. Draw the end tight till it reaches B. Pass the end A under C and D strings, which cross the palm, drop the whole string off the left hand and pull gently and steadily the end A with the right hand, and the string pulls out straight.

Preparation.—Have a small white, long-eared rabbit hidden in a secret pocket inside the right breast of your coat.

Performance.—On requiring a rabbit for a trick, you select a simple-looking member of the company. On his rising, you stand behind him so as to cover your body with his. Take his right wrist in your right hand as if to keep him steady, by which act you open your coat out naturally to the right. Now flourish your left hand with the arm extended, and bring it round to the level of the back of the party’s neck. Then, at the same time that you forcibly thrust your three last fingers well down within the simple gentleman’s coat collar, you seize the rabbit’s ear or ears between your forefinger and thumb. Now lift up the rabbit, and the simple gentleman will be too much confused by the shock to perceive how the deception was managed. The audience will be equally astonished.

The magician Bosco, of Milan, numbered among his acquaintances the negro prima donna whose advent as “the Black Malibran” caused quite an operatic warfare in our fathers’ time, from a certain opposition being waged against a Desdemona of Othello’s colour presuming to darken the stage.

One afternoon previous to Signor Bosco’s performance at the Rooms at the back of the Princess’s Theatre, which veteran playgoers will remember, he took tea with the lady.

It was his habit, a pleasant one, of experimenting with his really remarkable inventions upon his friends before unveiling them to the public.

On this occasion he produced at the tea-table a pretty little picture frame. It was simply a border of wood around a square of quite clear glass, with coloured paper pasted over the back to keep out the dust.

Taking up a pack of cards, he had one drawn by the lady—let us suppose the ten of diamonds. This he made to vanish in the air.

Then he again had the picture frame observed, that it might be beyond doubt that nothing but the clear glass in the front, and the coloured opaque back, were visible. And over the frame, held in the lady’s hand, he lightly threw a handkerchief.

He uttered a magic phrase or two, took the frame, still in the handkerchief, waved it in the air, and made a pass or two over it. Then removing the handkerchief he held up the frame to the lady, who, to her astonishment, perceived a card in its centre—the card she had drawn.

Again covering the frame with the handkerchief, Bosco once more bewitched it. On taking away the handkerchief this time, the picture frame was found to have resumed its original condition; in other words, the card had vanished, and there was nothing visible but the border, the clear glass, and the opaque back.

Explanation.—The frame is hollow at top and bottom, so that these two places are receptacles to contain a quantity of sand. This sand is dyed of the same colour as the paper used to cover the back of the frame. Two pieces of glass are placed in the frame, a little apart.

To prepare for performance, fill the receptacle at the top part of the frame with the sand dyed the same colour as the paper at the back, and let it run down till it fills the space between the two panes of glass, and consequently, conceals the card, and is itself unnoticeable, from looking exactly like the paper.

After the handkerchief has covered the frame, and you take it into your own hands, reverse it unseen, so that all the sand shall run down into the receptacle.

On showing it now, the card will appear.

By turning the frame again so that the sand shall run out, and once more hide the card, it becomes invisible, as at first. The trick can be repeated at pleasure.

(The Invention of M. Robert Houdin, and as Improved by Mr. Cremer.)

Mr. Hanky Panky, attired in a faultless evening dress, has presented himself to the audience with the air of being quite perfect in his appearance, when he suddenly becomes confused. By his nervous glances, and their direction, it is perceived that he has omitted an indispensable article of costume, and that is, the flower in his button-hole.

However, quickly recovering from his surprise and trouble, he smilingly observes that this misfortune, irreparable without a certain delay to ordinary members of society, is easily rectified by a conjuror.

To make good this assertion, he takes up his wand, and waving it gracefully three times, the company is startled to see a beautiful rose appear instantaneously in his button-hole.

Explanation.—This charming little deception is as simple as effective. A child can perform it, and at the cost only of a few pence.

You must have twelve or fifteen inches of common elastic cord, fine but strong, covered with thread of the same colour as your coat. To one end firmly fasten an artificial flower, or it may be a real one if you strengthen its stalk by the insertion of florists’ wire. The place of fastening is close to, and just under, the flower.

Punch out a small hole in your coat, on the point corresponding to that button-hole in which a flower is usually worn, and just under the button-hole itself.

In this hole insert a metal “eye,” such as is put in boots for the laces to run through, and fasten it there. It is for the cord to run smoothly through. This eye is not visible, even to yourself.

On the other end of the elastic make a small loop.

When ready for the performance, take your elastic cord, to which is attached the flower, and pass the loop end through the button-hole from the outside. Then pass it through the eye in the same direction, and bring it down along inside the coat to the button on your trousers, at the left side, or you may have a button sewn on your vest about the same place. There fasten the end of the cord by the loop.

The elasticity of the cord now draws the flower up to the button-hole.

Pull the flower back, just a little behind the left armpit, and let the left arm hang loosely by the side. As long as the upper left arm is kept close to the side, the flower must remain secure, and concealed at the back of the shoulder.

But, on opening out the arm, the flower must be drawn by the elastic cord up to the button-hole, through which it cannot pass, from its size.

Therefore, in entering the room where the audience await you, you have nothing to observe but to keep your face to the company. No one can perceive the cord, even at a little distance.

You take up your wand with your left hand, still keeping the left upper arm by your side; move your left hand and wand across the body to the right, then take the wand with your right hand, while your left hand remains across the body, with the hand on a level with the button-hole. Wave the wand to the left, and take it with the left hand again. Now wave the wand to the left, and on extending the left arm fully, you of course open it out, and the flower—under cover of the arm—is made to appear suddenly in the button-hole.

These three movements should be gracefully done, and with the happy medium between hurry and slowness.