Home Fun

The “roof” voice is extremely useful for illusions of all kinds, and perhaps is the easiest of the three to acquire. Its purpose is to make sound appear to come from any point above the audience, and the entertainer practices it at first by standing erect, taking in a deep breath, and then drawing backwards and downwards the lower jaw, holding it by muscular contraction in that position. With the lips about an inch apart say your words, whatever they may be, just as you would the “ah!” of the bee drone, concentrating your mind on the effort of directing the sound waves towards the roof of the mouth. In this case, however, exhalation should take place very slowly, while the speech is uttered with unusual clearness.

The effect of the illusion, however, is destroyed if whilst using the “roof” voice you look either straight before you or down to the ground.

The ventriloquist must bear in mind that it is important to deceive the audience, just as a conjurer does, but the former has this advantage over his magic brother, that the deception is both optical and oral.

Let him, therefore, when “throwing his voice” to the roof, glance sharply upwards as soon as the words are uttered, and turn his head in a listening attitude; his example will be followed immediately by the audience, who naturally fall into the trap prepared for them, and, for the time being, are quite satisfied that the sounds do really come from the roof.

This is an advantage on which the ventriloquist can trade to an enormous extent, because the ear is so easily deceived. How difficult it is, when listening from within a closed room to a street organ playing outside, to tell whether the music comes from up or down the road. So with ventriloquism—the performer has but to modify the position of the vocal chords as indicated, and to fix his eyes upon the roof, when lo and behold! everybody is perfectly satisfied that the speech does come from above.

“Level” Sounds

Of the three “distant” voices, the “level” is, perhaps, the most useful and the most generally successful, because the mere fact of the entertainer being on the same plane as the door and the windows, from behind which people are supposed to converse with him, provides him with opportunities for using the facial muscles and for distorting sounds, and so heightening the illusion.

For instance, whereas he must turn full or three-quarter face when using the “roof” voice, he can carry on a dialogue on the “level,” sideways to the audience; or in the case where the stage possesses a door at the rear, he may often be permitted for a moment to turn his back.

Practice as before in the “bee drone” voice, without endeavoring to any great extent to shut off the sound in the throat. This may be done by curling up the tongue so that its tip presses against the back of the upper teeth.

If you are practicing by the side of the door, as you open it towards you the ventriloquially uttered sounds must be raised in tone and made more distinct by lifting the shutter from the throat, or, in other words, by allowing the tongue to resume its normal position, and the sounds to issue forth on the principle of the “bee drone.”

The “Floor” Voice

This voice is extremely useful for such illusions as “the man in the cellar attending to the gas meter,” &c. It calls particularly for a display of histrionic powers, and the mere fact of bending down, as the sounds appear to come from below, helps to give it the necessary subdued and “distant” effect. Whilst speaking very slowly in the “bee drone” thrust the chin forward, contracting the larynx as much as you possibly can; roll back the tongue to stifle the sound in the throat, and the illusion will be complete. Immediately you change from the “floor” to the natural voice, resume the standing position and speak with unusual distinctness. The contrast cannot fail to escape the notice of the audience, who will be quite convinced that you have indeed carried on a conversation with some one below.

Ventriloquial Imitations

Although imitations can hardly be classed under the heading of pure ventriloquism, yet they may be pressed into the service of the entertainer to promote variety in his performance. They serve, too, another very useful purpose, inasmuch as they provide a relief from what must inevitably prove a strain on the vocal chords. As has already been said, ventriloquism necessitates the placing of the vocal chords in a somewhat unnatural position, and the result is that the exponent, particularly in the early stages of the work, is apt speedily to become tired.

As a break between an exhibition of “near” ventriloquism—that is, with the automata—and an exposition of distant effects, one or two vocal or instrumental imitations will prove welcome both to the entertainer and the entertained.

A witty person once remarked that the secret of success lies not so much in what you can do, as in what you can induce other people to think you can do. In other words, a little knowledge in the hands of a ready-witted and competent ventriloquist can be turned to great advantage and become a valuable asset in his undertakings. For successful imitations, self-confidence is perhaps of even greater importance than the possession of real ventriloquial powers. Self-confidence is a trump card that the ventriloquist should always hold in his hand, because it will take all the tricks. Success is impossible without it, and easy with it!

Perhaps there are few branches of entertaining in which self-assurance is so necessary as in ventriloquial mimicry. The border-line between a successful imitation and a ludicrous failure is oft-times so narrow, that a sensitive soul would soon be disheartened.

The only difference between the efforts of the ordinary and the ventriloquial mimic is that the latter, when giving expression to sounds vocally produced, should place the chords in the same position as for the “bee drone” and the “distant” voice.

A very good study is that of a hen as she cackles immediately before laying an egg, and again after having done so. You will notice that the first sounds are mostly of a guttural nature, and they should come from well back in the throat, starting moderately high and descending four or five notes. Of course the lips will have to be kept slightly opened, and for the final jubilant crow considerably extended. To avoid the necessary facial movement, it is as well when uttering the “crow” to turn sideways to the audience. Again, while the first note of the cackling should be loud, the successive notes grow quieter.

A Dog Fight

An imitation of a dog fight will form a spirited item in your programme. By your actions you may suggest, for instance, a small cur yapping vigorously until a larger and more ferocious animal endeavors to quiet him.

To produce the higher notes of the dog-bark, the falsetto or “thick” voice must be used, while the deeper guttural tones already explained for use with the “darky” serve for the larger dog.

It is a little difficult to intersperse the two sets of sounds without expressing facial contortion, but you may obtain for yourself a certain amount of license by pretending that the dog fight is taking place beneath a covered table, behind which you may stoop in your supposed endeavors to stop the tumult.

It is but natural to turn from dogs to cats. Whereas you have just given an imitation, perhaps, of a fierce duel, your next effort should endeavor to portray a feline courtship. This should be made as funny as possible. The lady’s “marr-rr-ows” and “mia-a-a-ows” are easily copied after you have been kept awake a night or two listening to the genuine article, whilst the deeper tones of Mr. Tom are included in the repertory of every well-educated schoolboy.

The mouth should be kept fairly wide open and a kind of sideways motion given to it, whilst the cry should be drawled until the lips form for the final “ow.” The spittings and growlings necessitate the bringing together of the lips and teeth, a freedom which your audience on this occasion must permit you. The doleful moans with which our feline friends endeavor to solace one another can be produced by making the mouth very hollow, the lips into the form of a large O, slowly contracted to a very small one.

For the die-away, distant effect, moaning more or less in the throat must be resorted to. The finale can consist of a number of fierce spittings and growlings, suddenly interrupted by an unmistakably human voice (your own) “shoo-ing” the night visitants away.

A variation can be made by giving an imitation of pouring out a glass of wine. To produce the illusion of drawing the cork from the bottle, turn slightly round, thrust the forefinger into the mouth against the cheek, close the lips around the finger, slowly bring the end of the finger round inside the cheek, and force it smartly out through the lips. The result will be a loud pop. By moving the tongue from the back of the mouth quickly backwards and forwards, making it strike against the inside of the gums, the “glug, glug” of the wine being poured out will be plainly heard.

The Lion and the Cow

Under the cover of a screen, the roaring of a lion is simple of accomplishment. Use an ordinary lamp chimney, and give vent to a series of deep-throated roars from this. The effect will both be natural and startling. With the same instrument the deep lowing of a cow can be perfectly imitated, the lips producing the familiar “moo,” the sound being gradually drawled through the glass chimney.

To copy a saw at work is quite easy. Get a ruler, or some similar article, to represent the saw, and draw it backwards and forwards as though cutting a piece of wood. The sound is best made by clenching the teeth, placing the tongue a little forward between the upper and lower teeth, quickly inhaling and exhaling the air. The resultant noise will be an exact imitation of the saw cutting its way through the wood.

Quite an effective item is the ascent of a rocket. By blowing hard through pursed lips, and striking the mouth rapidly with sharp little blows with closed fingers, the curious sound of an ascending rocket may be reproduced with perfect fidelity. This slowly fades away, there is a moment’s pause, and then the final pop as the stars burst. Naturally such an imitation should be performed in the shelter of the screen. As a last example, an imitation of the itinerant knife-grinder may be attempted. Keep the lips and the teeth closed to produce the rasping up and down of the steel upon the grindstone, the while working an imaginary treadle with the right foot.

The Complete Entertainment

By this time the young ventriloquist should have at his command both “near” and “distant” voices and imitations. It only remains to say a few words regarding the manner of giving an entertainment.

Although smart dialogue is very entertaining, it is apt, after a little while, to pall; and to obviate this it will be found well to introduce an occasional song or comic recitation. In both cases these may take the form of parodies, but in the former a serious song really well sung by the ventriloquial figure will evoke both admiration and applause.

Those not possessed of particularly good vocal qualifications may feel that the singing of a song successfully is beyond their capabilities. They should, however, bear in mind that nothing like “finish” or cleverness in execution is expected from a wooden figure. One or two verses and the chorus are quite enough to venture upon, as singing ventriloquially is extremely tiring.

The best time to introduce a song is when dialogue between yourself and the automata has been in progress for seven or eight minutes. Either the little boy or the old man or the old woman can essay to try his or her skill as a vocalist, or the affair may be competitive. Much amusement may be caused by the little boy extolling his own skill as a vocalist, and the darky challenging him. To settle the matter, let one sing the first verse of a song and the other the second, the little boy making a terrible hash of his part of the performance. If his mistakes are greeted with groans of derision from the old man, or cries of horror from the old woman, the audience will be immensely pleased.

While the song is in progress, the ventriloquist should look about him unconcernedly, feigning total disinterestedness in the affair. Towards the end of the song he may glance sharply once or twice at the singer and applaud him for his effort, which applause it is to be hoped the audience will generously supplement.

It is not intended that these few observations on the art of ventriloquism should be taken as covering all the ground over which this fascinating subject spreads. Enough has been said, however, to show any one who is sufficiently interested how to give a really pleasing drawing-room performance which shall earn for him the reputation of being quite a creditable exponent of the wondrous and mystifying art of Valentine Vox.

CHAPTER XX
CONJURING FOR ALL

Magic Memorized

It is said that at some period of his life every boy becomes stage-struck, and it may be averred with equal truth that sooner or later every boy is seized with a desire to become a conjurer.

Considering the fascination to old and young alike of a conjuring entertainment, this is not to be wondered at. But when the would-be conjurer begins to realize the years and years of practice necessary before he can accomplish his desire, he soon despairs; and instead of proudly mounting the platform as an entertainer, he finally satisfies himself by humbly occupying a chair as one of the entertained.

It is the purpose of this chapter, however, to set forth a complete conjuring entertainment in such a manner that anybody can easily learn and perform it, in precisely the same manner as they would memorize and deliver a recitation.

Before proceeding with the tricks themselves, it will perhaps be advisable, for the sake of the uninitiated, briefly to describe how to fit up a handy conjuring table.

Procure a small wooden box about six inches deep and one foot in length and width, and stand it in the center of a small gypsy-table. Then artistically drape one or two flags, or a brightly-colored cloth over it (Fig. 1).

It will be noticed that a portion of the table at the back of the box is left vacant. This, in the dialect of the profession, is known as the servante. It is used for secretly disposing of objects during the performance.

The magic wand simply consists of a decorated circular stick about ten inches long.

Each trick will be dealt with in three separate parts. The first will describe the illusion from the point of view of the audience; the second will explain the apparatus required; and the third the “patter” accompanying each trick.

Presentation.—As seen by the audience, the first trick is as follows:

Two ping-pong balls are lying upon the table, and the conjurer requests a member of the audience to choose one. This having been done, the performer picks up the selected ball and commences gently rubbing it in the palms of his hands, when to the amazement of the audience, the ball is seen to change into a couple of handkerchiefs!

The conjurer places one of these upon the table, and proceeds to wrap up the other in a piece of pink paper. Blowing out a candle which has been standing in a candlestick upon the table, the performer wraps that also into a similar parcel, using white paper instead of pink.

He next places the two parcels at opposite ends of the table, in full view of the audience. After making one or two passes with the magic wand, the conjurer picks up the parcel containing the candle. He then tears it open, when it is found to contain the handkerchief. Upon the remaining parcel being examined the candle is discovered within it.

Apparatus required.—(1) Two ping-pong balls. A large hole must be bored in one by means of a penknife.

(2) Three small silk handkerchiefs. Two of these should be stuffed into the prepared ball through the hole. Both balls must then be placed upon the conjuring table—the hole in the prepared one being turned away from the audience.

(3) An ordinary candle wrapped in a piece of pink paper, and concealed in readiness on the servante. Another piece of pink paper and a piece of white should also be ready at hand.

(4) A “false” candle. This is made by gumming a piece of white paper into the form of a cylinder, and sticking a slice from a real candle in one end. The third handkerchief must be stuffed into the “false” candle (Fig. 2), which should then be placed in a candlestick. From a short distance it will be impossible to distinguish this candle from the genuine article, and the effect will be considerably heightened by the candle-end being lit.

Patter.—The conjurer comes forward to the front of the platform and delivers himself somewhat after the following:—

“Ladies and gentlemen—you will observe upon my table two ping-pong or table-tennis balls. They are quite innocent-looking, and although in appearance they somewhat resemble eggs, will not be found half so deceptive. Will some lady or gentleman kindly select one?”

If the ball containing the handkerchief is selected the conjurer picks it up and proceeds with the trick. Should the other be chosen, however, it makes no difference. The entertainer simply hands it to the person who has made the selection, and remarks: “Very well. Would you mind taking the ball you have chosen and examining it?” Upon the person complying with his request, the conjurer picks up the remaining ball—the prepared one—and continues with the trick.

“Ladies and gentlemen,” he says, slowly rubbing the ball between the palms of his hands, and carefully extracting the first handkerchief from its interior (a simple effort in sleight-of-hand, quickly acquired), “we will now see what effect a little friction has. Ah! Something is happening already!”

The performer allows the second handkerchief to stream forth, and then gradually opens his hands, taking care that one of the handkerchiefs completely covers the ball and hides it from view. He then lays the handkerchief sheltering the ball carelessly upon the table. If this is done in a natural manner, the audience will not have the slightest suspicion that it covers anything at all. Holding the remaining handkerchief up to view, he continues:

“We will now see whether this inherits any of the marvelous properties of the ball from which it was produced. I have here a piece of paper.” (Holds up the red paper.) “It contains neither trap-doors, hidden mirrors, nor other mechanical contrivances. The reason for my using pink paper is that it insures the trick being performed to the pink of perfection. I will now proceed to roll up the handkerchief in the paper.”

This is done, the performer taking care to make the parcel exactly similar in shape to that of the candle on the servante. During the wrapping-up process, however, he carelessly drops the parcel on the servante. With a muttered excuse for his clumsiness, the conjurer again resorts to quickness of the hand, and picks up the parcel containing the candle. The very audacity of this movement will effectually keep the audience from suspecting that a substitution has been effected.

“I will now take this candle and wrap it in the piece of white paper I have here. By the way, can any one tell me what nobleman could very well be represented by a burnt-out candle? No one? Why, the Earl of Wicklow!” (He blows out the “false” candle and wraps it in the white paper.)

“You see I have now two parcels—the pink one containing the handkerchief, the white one containing the candle. I will place them at opposite ends of the table, and make a few passes with my magic wand.”

The performer waves the wand a few times. Then, seizing the packet containing the “false” candle, he rips it open, thus tearing the paper cylinder, and revealing the handkerchief. The small wax candle-end will escape observation amongst the torn paper, and the audience will be under the impression that the candle has changed to a handkerchief.

“Will a gentleman kindly step forward and examine the remaining parcel?” (Upon the examination being made it is found, of course, to contain the candle.) “What! The handkerchief and candle appear to have disagreed with the quarters I originally allotted them, and have changed places! I think you will agree with me that this little experiment has terminated in a very interesting manner. I think you will also agree that I have not once attempted to deceive you, as the whole of the experiment was conducted before your very eyes.”

The second trick might very aptly be entitled

The Dye-Works

Presentation.—The conjurer hands round for inspection a small sheet of white paper. Upon its being returned, he rolls it into a cylinder. Taking a couple of red silk handkerchiefs from the table, he proceeds to poke them into the tube by means of the magic wand. He continues to force them down until they at length make their appearance at the other end. During this short passage through the tube, however, an astonishing transformation has ensued. Instead of the handkerchiefs being red, one emerges a deep blue and the other yellow! Yet upon the roll of paper being passed round for inspection it is found to be perfectly empty.

Apparatus required.—(1) Two red, one blue, and a yellow silk handkerchief.

(2) A sheet of stout white paper about six inches long by five wide.

(3) A small cardboard tube about three inches long and an inch and a half in diameter. A section cut from an ordinary postal tube will do admirably.

A small bag of yellow silk must be sewn by its edges to the interior of this tube (Fig. 3). The yellow handkerchief should next be stitched by its center to the bag, as is shown in the same diagram. This done, both the yellow and blue handkerchiefs must be forced into the cardboard tube until they are completely hidden. There will be no difficulty in doing this, as silk can be made to occupy a very small space. The bag, of course, will prevent the handkerchiefs coming out at the other end.

The cardboard tube and its contents should then be placed upon the table, and the two red handkerchiefs laid carelessly over it in order to obscure it from the view of the audience.

Patter.—“I have here an ordinary sheet of white paper. I intend, however, to turn it to a rather extraordinary purpose; in fact, to manufacture with it a dye-works!

“I first roll the paper into a cylinder—so. Please notice that I do not attempt to insert anything as I do so.”

The performer rolls up the paper, taking care to make it sufficiently large to admit the little cardboard tube.

“I have also two red silk handkerchiefs. Every lady present to-night will know how very difficult it is to dye anything that is red. Nevertheless, I am going to put these handkerchiefs down my dye-works’ chimney.”

He picks up the handkerchiefs—with the tube still hidden in them—and apparently attempts to poke them into the cylinder. In reality, however, he only inserts the cardboard tube, and then pauses, as though in doubt.

“Well, ladies and gentlemen, it appears as if I haven’t built my dye-works large enough to receive both handkerchiefs together. I think it will be advisable, therefore, to insert them singly.”

The conjurer proceeds to place first one and then the other handkerchief in the tube. Then, taking up his magic wand he rams them well down. This has the effect of forcing them both into the small cardboard tube, thus liberating the blue and yellow handkerchiefs.

“Ah! I see that one of the handkerchiefs is issuing from the basement of our dye-works. And the color has been altered during its journey! Here comes the other straight from the mangle, and, as you will observe, it is now dyed yellow. The dye-works has proved most successful. In fact, I believe that if I’d inserted a third handkerchief it would have come out folded and ironed!”

So saying, the conjurer takes the yellow handkerchief by its middle and draws it from the paper cylinder. The cardboard tube, with the red handkerchiefs safely in it, will, of course, be drawn out at the same time. The folds of the yellow handkerchief, however, will completely hide it (Fig. 4). The conjurer then throws the paper cylinder amongst the audience, with the remark—

“There you are, ladies and gentlemen. As I am of a philanthropic nature, I will let you have my dye-works free of charge, with full permission to make whatever use you like of them.”

The third trick may be called

The Dissolving Coin

Presentation.—The conjurer, standing a glass of water upon his table, borrows a quarter, and places it in the center of a loaned handkerchief. He then requests a member of the audience to hold it over the glass so that the folds of the handkerchief hang around it and completely hide it from view (Fig. 5).

The performer next asks the person holding the coin to let it drop into the water. He does so, and the audience hear it tinkle as it strikes the bottom of the glass. But when the handkerchief is removed, the quarter has disappeared!

A dish containing a number of oranges is standing upon the table. The conjurer picks up a knife and plunges it into one. Passing it to a member of the audience, he requests him to cut it open. Upon this being done the quarter is discovered embedded in the center of the fruit (Fig. 6).

Apparatus required.—(1) A glass of water. (2) A silver quarter. (3) A watch-glass the size of a quarter. One can be purchased for five cents from any watch repairer’s. (4) A dish of oranges. A small cut must be made in one of them, and the quarter forced into the incision. The prepared orange should then be replaced upon the dish, care being taken that its position is remembered.

Patter.—“It is always a conjurer’s duty, during some part of his entertainment, to borrow. The time is now ripe for me to perform that pleasant duty. Will some one kindly supply me with a quarter and a handkerchief?”

As the performer walks amongst the audience to obtain the handkerchief, he secretly takes the watch-glass from his waistcoat pocket—where it has been placed in readiness. As he returns to his table with the handkerchief and the coin, and whilst his back is to the audience, he must again resort to sleight-of-hand and substitute his watch-glass for the coin, which can either be slipped into his waistcoat pocket, or dropped surreptitiously on to the servante. The performer then faces the audience, holding up the watch-glass instead of the coin in the center of the handkerchief.

“I have placed the quarter in the handkerchief, and should now like the assistance of a young gentleman.

“Thank you, sir. Would you mind holding this coin over the glass and let it fall into the water when I count three? Thank you! One—two—three! You’re sure you dropped it? Well, will you please remove the handkerchief, thus taking the quarter from the water.” (The watch-glass, being transparent, will be invisible at the bottom of the glass, and the assistant will immediately declare that the coin has vanished.)

“It’s gone, you say? That’s rather awkward for the gentleman from whom I borrowed it. But perhaps you’d like to pay him back yourself? You strongly object? Well, I must see what I can do!”

The conjurer walks over to the dish of oranges.

“In order to see how this trick is done, ladies and gentlemen, you must keep one eye upon me, one eye upon that dish of oranges, and the other upon the gentleman who is assisting me. What’s that? You haven’t three eyes? I think you are mistaken. First there’s your right eye; then there’s your left eye; and your nect(eye)ie makes the third.”

The performer then plunges a knife into the prepared orange and hands it to his assistant.

“Would you mind cutting that in half?” (Upon doing so the young gentleman will, of course, find the coin embedded in the fruit.) “You have found the missing coin in its center? I consider it rather clever of me to purchase for a few cents oranges that grow quarters. Would you mind returning the coin to its owner; and I must thank you for the very able assistance you have afforded me.”

The next trick may be called

The Watch and Target

Presentation.—The conjurer borrows a watch from a member of the audience and wraps it in a piece of paper. He next places it in the muzzle of a pistol, and then stands a target upon the table. Handing the pistol to a gentleman in the audience, the performer requests him to fire at the target. There is a loud report, and—hey, presto!—the watch is found swinging in the center of the target! And upon the paper parcel which contained the watch being removed from the pistol’s muzzle it is found to be perfectly empty.

Apparatus required.—(1) A piece of paper in which to wrap the borrowed watch; and a second piece of the same size and color. This must be folded to create the impression that it contains a watch.

(2) An ordinary toy pistol. This must be taken to a tinsmith, in order to have a tin muzzle of the shape shown in Fig. 7 soldered to the barrel. It will also be necessary for the tinsmith to make another very important addition to the pistol. It consists of the little pan illustrated in Fig. 8. This pan fits into the muzzle. But in order that it may not sink down too far, and can be removed easily, a flange must be made round the edge, as shown in Figs. 7 and 8. Before commencing the trick, the piece of paper folded into the shape of a watch must be placed inside the muzzle, and the tin pan fitted into position on top of it.

(3) A target (Fig. 9). This target, as might be anticipated, is not so simple as it looks. The “bull’s-eye” at the center must be cut completely out with a fretsaw, and then replaced again on the two pivots (B B, Fig. 10). A small wooden clip should next be fixed in the position illustrated by C, and a piece of elastic fastened to the “bull’s-eye” at A, and stretched to the other side of the target.

It will now be observed that the tendency of the elastic is to make the “bull’s-eye” revolve upon its pivots. The wooden catch C, however, prevents this happening.

The catch is secured to the target by a single nail or screw, in precisely the same manner as the “button” is fixed to an ordinary cupboard door. A piece of black thread must be fastened to one end of the catch, and carried down behind the target through a series of hooks made from bent pins (D, Fig. 10).

A pull at the thread thus causes the wooden catch to release the “bull’s-eye,” which will instantly be forced round upon its pivots by the elastic, and show the other side:—which must be similarly painted with rings—to the audience. To complete the target, drive a small hook into the center of the “bull’s-eye.” The finished article must then be placed behind a screen in readiness for the performance.

(4) Lastly, a small piece of black elastic should be sewn across the V-shaped opening at the bottom of the conjurer’s waistcoat, as shown in Fig. 11. This keeps the bottom of the waistcoat perfectly tight, thus making a handy receptacle for any article the performer may poke up it out of sight.

Patter.—“Ladies and gentlemen—I was so successful in borrowing for my last trick, that I am encouraged to be a little less timid in my requests. Will some gentleman kindly lend me his watch? Thank you, sir! I may muddle up the wheels a bit during my experiment; but I suppose you don’t mind that, provided the watch looks all right when I return it? Now, sir, would you mind wrapping your watch up in this piece of paper?”

Whilst the lender of the watch is engaged in wrapping up his property, the conjurer walks to the table and returns with the pistol in his hand. He then takes the parcel from the gentleman, and apparently places it in the muzzle. In reality, however, it is put only into the small pan.

The performer turns round, and walks towards his table. Holding the pistol well into the body so that it is completely screened from the audience, he quickly places his right hand over the muzzle, and grips the flange with his thumb and little finger. It is then only the work of a moment to lift the pan and its contents from the pistol, and poke it under his waistcoat. As the performer’s back is to the audience, these rapid movements escape observation.

Upon reaching the table the conjurer lays down the pistol, faces the audience, and says:

“Well, now that I’ve got my ammunition, I suppose I’d better get a target.”

He retires behind the screen sheltering the target. Hastily taking the pan from his waistcoat, he tears the watch from the paper, and hangs it upon the hook on the reverse side of the “bull’s-eye.” Then, returning to the platform, he places the target upon the table, and taking up the pistol, says:

“Will the gentleman who lent me the watch kindly take this pistol and fire at the target when I count three?” (Upon taking the pistol the gentleman will see the second piece of paper in the muzzle, and imagine that it contains the watch.) “Are you ready? One!—I hope you are a good shot. Two!—Mind you don’t hit me instead of the target. THREE!”

As he utters the last word the conjurer pulls the thread, and simultaneous with the report of the pistol, the “bull’s-eye” flashes round and reveals the watch hanging to its center.

Of course the thread must be sufficiently long to permit the performer to stand a short distance from the target. Against a dark background the thread will be quite invisible to the audience.

Upon the second parcel being examined it will, of course, be found quite empty.

CHAPTER XXI
SOME KNOTTY POINTS

Secrets of Handkerchief Manipulation

The following explanations are intended to provide the beginner with the knowledge necessary to perform a few of the simple but neat tricks which can be done with no other apparatus than a handkerchief. For a short turn or “gag” these tricks are effective and useful, whilst their very simplicity renders a quick return for the little trouble required to learn them.

A good-sized silk handkerchief must be procured. Before making any of the knots it should be twisted like a rope (Fig. 1). Being of silk, the handkerchief will not untwine easily.

The One Hand Knot

This knot is very simple to make. Hold the handkerchief, bent double, across the right hand (Fig. 2). Now, suddenly drop the hand, letting the fingers pass over the end, A, and catch the end, B, at the point, C, between the first and second fingers. Let the remainder of the handkerchief slip off the hand, giving it a sharp flick, which will tighten the knot already loosely formed.

Practice constantly until the whole movement can be done very rapidly. To the spectators it will appear as if you have suddenly flicked the handkerchief into a knot, and the effect will be striking.

The Wrist Knot

Stretch the handkerchief between the finger and thumb in both hands, as in Fig. 3. Cast a loop towards the left hand, taking care that it is thrown outwards. As the loop is made, the left hand, still with the end of the handkerchief between finger and thumb, is passed smartly through the loop from the outside—shown by the dotted lines in the illustration.

This loop is now loosely round the left wrist, and the knot can be made taut by pulling the ends with both hands. The instant it is drawn tight let go of the ends of the handkerchief, and the result will be that a simple twitch of the right hand has seemed to tie a knot firmly round your left wrist.

The Double Bow

This very pretty trick can be accomplished by making a double bow with a rapid turn of the hands.

Hold the twisted handkerchief in both hands, as shown by Fig. 4. The two hands are marked L and R—i.e., left and right respectively. Now bring the right hand round and past the left, as indicated by the dotted lines, and nip the handkerchief at the point A with the first and second fingers of the right hand.

By doing this you have naturally brought the point B opposite the first and second fingers of the left hand, between which it should be similarly nipped. During all these movements the remaining fingers and thumbs of each hand should retain their original hold on the handkerchief.

Having now taken hold of both the points A and B, straighten your hands and pull apart, still retaining the hold of the first and second fingers. As a result you will find the handkerchief tied in a double bow, which, if the movements have been done quickly and well, will seem to have been accomplished by some strange effect of magic.

The Instantaneous Knots

These knots can be made at each end of the handkerchief by the following method. Hold the handkerchief in the position shown in Fig. 5, where it appears lying over the third and fourth fingers with the two ends, A and B, hanging beyond the thumbs. The movements are done in the same way and simultaneously with both hands, and it will therefore suffice to describe the action of your right hand.