THE BEWILDERING BLOCKS
The blocks which give its title to this trick are inch-square wooden cubes, three in number, as illustrated in Fig. 32. Each is coloured black on two of its opposite sides; these in use being made top and bottom. The four remaining sides are in the case of one block red, of another white, and of a third blue. The only other item of apparatus known to the spectators is a square cardboard tube, as depicted in Fig. 33. This is about five inches long, and of such dimensions laterally as to let either block slide by its own weight easily through it, but no more. All four items may be freely submitted to inspection, for in this case appearances are not deceitful. Both the blocks and the tube are no more and no less than they seem to be.
In exhibiting the trick, the tube is placed upright on the table, and the three blocks are dropped into it one after another, the company being requested to note particularly the order in which they are inserted, which we will suppose to be in the first instance blue, then white, and lastly red, as shown without the tube in Fig. 32. It is clear that, once inserted, they cannot by any natural means alter their relative positions, but, strange to say, when they are again uncovered, the red block just inserted at the top is found to have passed to the bottom, the other two moving up accordingly.
This surprising effect is produced by the secret introduction into the tube of a fourth block of which the spectators know nothing. This, which we will call the “trick” block, is, like the rest, coloured black at the top and bottom; but of the remaining four sides two, contiguous to each other, are red, and the other two blue.
Fig. 32 Fig. 33 Fig. 34
When the tube is handed back to the performer after inspection, before placing it on the table he secretly introduces the trick block into its lower end, privately noting against which sides of the tube the two red faces will lie, and taking care in placing the tube upon the table that the angle formed by these two sides shall be to the front. The other three blocks are then, in accordance with the patter, dropped in from above, in the order shown in Fig. 32, resting, unknown to the spectators, on top of the trick block. When the performer lifts off the tube, which he does grasping it diagonally between thumb and finger at about an inch from the top, he does so with gentle pressure, thereby holding back the uppermost block within the tube, and exposing the two others with the trick block at the bottom, as indicated by Fig. 34.
I gave a description of this trick in the Magician of February, 1914. The patter for its exhibition was based on a popular nursery legend, and as this mode of presentation won general approval from the juveniles I cannot do better than repeat it practically as there given. The needful working instructions will be found interspersed with the patter.
“What I am going to show you now is not a trick, or, if you can call it a trick, it is one that works itself, for you will see for yourselves that I have really nothing to do with it. It is just an illustration of the force of bad example.
“No doubt you have all heard of a young gentleman called Fidgety Phil. There is a little poem about him. It says:
‘Fidgety Phil
Couldn’t keep still,
Made his mother and father ill.’
“There are a lot more verses but I am sorry to say I don’t know them. However, these few lines are enough to show you what sort of a boy Fidgety Phil was. He was the kind of boy that wherever he is, he wants to be somewhere else. When he was standing up he wanted to sit down, and when he was sitting down he wriggled about on his chair till he was allowed to stand up again.
“These little blocks are all that are left of a box of bricks which are said to have belonged to Fidgety Phil and they show what even a box of bricks may come to if a bad example is constantly set before them. These three little bricks have got to be just as fidgety as Phil was himself. Anyhow, that is the only way in which I can account for their queer behaviour.
“Please have a good look at them, and see if you can discover anything peculiar about them. I can’t, myself.” (The blocks are handed for examination.) “They seem to me to be just ordinary bits of coloured wood, and this square tube is believed to have been a chimney pot belonging to the same set. I want you to notice particularly that the bricks are just the right size to fit closely in the chimney. They go in quite easily; but when they are once inside they can’t turn round, or turn over, or change places. But the curious thing is that though they can’t they do, as you will see presently.
“I place the chimney-pot here on the table, where you can see all round it, and I drop the three bricks into it one by one. Notice particularly the order in which I put them in. First, the blue. You heard it go down. Next, the white, and now, the red. Don’t forget. Blue at the bottom, white in the middle, and red at the top.
“Now, without my saying or doing anything, they will at once begin to shift about. They can’t keep still for more than a few seconds. When I lift off the chimney pot, you will find that they have changed places.” (It is lifted accordingly, performer holding back the uppermost block within it by gentle pressure on opposite angles of the tube, and exhibiting only the three lower blocks now as in Fig. 34.)
“There, as I told you, like Fidgety Phil, they couldn’t keep still. The white brick has climbed to the top, the red one has gone down to the bottom, and the blue one is now in the middle.
“We will try again. I will put the bricks in in just the same order, to make it easier for you to remember them.”
Performer has meanwhile allowed the red block, left in the upper part of the tube, to sink to the bottom, checked by the third finger, and replaces tube upright on table.
“As before, I drop in first the blue, then the white, then the red.” (This last being the trick block, care must be taken to keep its red sides well to the front.)
“Again I lift off the chimney pot, and again you see, the bricks have changed places. White has come to the top, and red has gone to the bottom again.”
The trick block, which this time remained at the top, is now allowed to slide down to the bottom. The tube is again placed on the table, but so turned that the blue sides of the block within it are brought to the front.
“I can’t tell you why the bricks behave in this way, but you can see for yourselves that I have nothing to do with it. We will try it once more, and for a change I will put the red block in first, then the white and then the blue. That order will be easy to remember. Red, white and blue reckoning from the bottom upwards. Again I remove the cover. The same thing has happened again, but with a little difference. White has come to the top again, but blue has this time gone to the bottom.”
While attention is drawn to the new order of the blocks, the performer allows the ordinary blue one, now left in the tube, to slide out into his hand, and in picking up the others secretly substitutes this for the trick block, which is now at the bottom of the tube.
“Once more, ladies and gentlemen, here is the chimney pot, and here are the three bricks, for inspection by any one who cares to look at them. Perhaps some of you may be able to account for their remarkable behaviour. It’s a puzzle to me; but I never was good at guessing. My own idea is that they are haunted by the ghost of Fidgety Phil. If not, I give it up.”