Latest Magic, Being original conjuring tricks

by Professor Hoffmann

CULTURE EXTRAORDINARY

The root-idea of this item must be credited to Signor Antonio Molini, the inventor of the very effective stage trick known as Le Souper du Diable. The principle on which that trick is worked is so subtle, and withal so simple, that it is surprising that it has not long since been applied to the production of less bulky objects than the tablecloth, eatables and drinkables which figure in the Satanic supper. The following is an application of the Signor Molini’s idea on a scale better adapted to the drawing room.

Requisites.

(1) Three zinc or zinc-lined tubes, as a, b, c, in Fig. 15, ranging in height from about three inches upwards, and graduated in size so as to fit easily one within the other.

Fig. 15

(2) Three balls, one red and two white, of such diameter as to pass easily through the narrowest tube. Two smaller balls, one red and one white, about half an inch in diameter.

(3) A box of matches.

Each of the two smaller tubes (c and d in diagram) to be loaded with one of the larger white balls, suspended from the upper edge of the tube by a wire hook, shaped as a in Fig. 16, connected with the ball by a loop of fine silk or cotton thread. The red ball is vested, and the two little balls may rest in a shallow tray or other appropriate receptacle on the table, deep enough as to conceal them from the view of the spectators.

Fig. 16

Introductory Patter. “You have no idea, ladies and gentlemen, what a lot of hints I get from different people for the improvement of my entertainment. If I were to adopt them all, I have no doubt it would be very fine indeed. The worst of it is that it would take a year or two to try them, so for the present I am obliged to leave things as they are.

“You will observe that I have here three tubes” (showing No. 1 and passing wand through it to prove it is empty), “quite ordinary tubes, with a hole at each end, and nothing at all between. I don’t suppose you would notice anything to object to about them, but some people are so very particular. A gentleman who said he had an artistic eye (I don’t know which eye it was) said to me, ‘Look here, Professor, that trick of yours would be ever so much better if you had all those tubes the same size. That lot looks as if you had picked them up at a jumble sale.’[8] I explained to him, kindly but firmly, that there was a special reason for having the three tubes of different sizes; namely, that by so doing it was made possible” (suiting the action to the word) “to pass this one (No. 1) over this other (No. 2); and this again over the smallest one, thereby saving much space in packing. He said, ‘Never mind, you take my tip and make ’em all the same size.’ I dare say he was right, but I haven’t had time to do it yet.”

During this little harangue, which appears to be mere “spoof,” you have practically worked the trick. Suiting the action to the word, you have passed the largest tube No. 1 over No. 2 and lifted it off again. In its downward movement the tube passes over the little hook on No. 2; but in lifting it off again its upper edge comes within the outer arm of the hook, and carries this off with the ball attached to it, leaving tube No. 2 empty. The latter, shown empty accordingly, is passed over No. 3 and carries off its load in the same way.

You have thus proved (!) in the most convincing way that all three tubes are empty, though as a matter of fact No. 3 is the only one in that condition, Nos. 1 and 2 each containing a suspended ball.

The patter from this point may vary according to the fancy of the performer. If he has the knack of producing the appropriate combination of fact and fiction, it is preferable that he should do so for himself. As I have elsewhere remarked, borrowed patter rarely comes so “trippingly on the tongue” as that of which the performer can say with, let us hope, undue depreciation of his merits, “a poor thing, but mine own.”

The fable with which I should myself introduce the trick would run somewhat as follows:

“You have all heard, ladies and gentlemen, of intensive culture, gooseberries grown while you wait, and that sort of thing. It is done by enclosing the seed, or the young plant, in a confined space and keeping it warm and comfy. It has always seemed to me that there is a good deal of magic about the process, and I thought I would like to try it myself, but it would be no good my trying to grow vegetables. I shouldn’t have room to grow more than one radish, or one spring onion at a time, which would hardly be worth while. I finally decided to grow a few billiard balls, for use in my entertainment, and I’ll show you how it’s done.

“You must please imagine that these three tubes are three hothouses on the new system.” (Picks up and exhibits one of the little white balls.) “Of course everything has to be raised from seed in the first instance, but it would take too long to show you the whole process from the beginning, so we will start with this little ball, grown from seed last night. In its present condition it is too small to be of any use, but by means of my intensive culture we can soon make it grow larger. I will drop it into No. 1 forcing house.”

Performer shows little ball in right hand and makes believe to transfer it to the left, in reality rolling it, as in the well-known “Cups and Balls” trick, between the roots of the second and third fingers. The left hand, held above tube No. 1, makes the movement of crumbling an imaginary ball into it. “Now we will plant another in the same way.”

You pick up apparently another little white ball, but in reality the same; which has remained in the right hand. Now, however, it will be well to vary the sleight used, so you show the ball between the second finger and thumb of the left hand, and apparently take it back by means of the pincette or tourniquet; then professedly dropping it into the second tube.

“And now, to complete the set, we shall have to grow a red ball. Here is a seedling of that colour.” You pick up the little red ball, and make believe to pass it after the same fashion into the third tube.

“And now to supply the heat. We do not need much, the space being so confined. I find that even the flame of a match is sufficient.”

You strike a match and move the flame round and round within the top of the larger tube till the thread catches fire and releases the ball. Should this be heard to drop, you account for it by remarking “I dare say you noticed a little explosion. That is caused by the sudden radio-activity of the component atoms re-arranging themselves in the expanded form.” You raise the tube and show the ball: then go through the same process with the second tube. Under cover of raising this tube to show the ball, you get the large red ball from the vest into the left hand and palm it.

“Perhaps you would like to watch the progress a little more closely.” You pick up the third tube and place it upright on the palm of the left hand, in so doing introducing the palmed ball from below, and advance with it to the company.

“The red balls are especially sensitive to heat. Even the warmth of the breath is generally enough for these. Anyhow, we will try.” You breathe into the tube, and lifting it show the ball, then offering both tube and ball for inspection.

It will hardly be necessary to point out to the acute reader that the alteration of procedure in the case of the last tube is rendered necessary; first, by the fact that the tube up to that point contains no ball, and secondly in order to avoid the difficulty of striking a match with the right hand only, the left being otherwise occupied.

The trick may appropriately be followed by the exhibition of a few of the usual ball sleights. If it is worked on a “black art” table it may be brought to an effective close by the “dematerialisation,” in succession, of the three balls.

[8] Rummage.