Part 6

“Here we have one, two, three, four, five. I pick up two of them.” (Draw shell over solid in act of picking up.) “I give them a gentle squeeze and they become one only.” (Show as one, and replace on mat behind the mouth of pocket.) “Now I treat two more in the same way.” (Repeat accordingly, replacing these also, as one, on mat.) “We have now only three left. Let me see, which is the original? Ah! here it is, with the owner’s mark upon it.” (Pick it up and show in left hand.) “Now I rub one of these others into it.” (Make the movement of picking up one of the double coins, and of rubbing it into the coin in left hand, but in reality “vanish” it, in the supposed act of picking up, into the pocket of mat.) “And now I pass this other one into it in the same way, and we have only the original penny left. It is like the ten little niggers, isn’t it, only that they never came back. Here is your penny, Sir. Please observe that it still has your own mark upon it, which is proof positive that there has been ‘no deception.’”

N. B. If the performer is a novice, he may simplify the trick by loading the coin mat with one double and one ordinary coin only, or two ordinary coins, limiting the successive productions accordingly.

THE MISSING LINK

At an early period of my magical career, I devised a trick to which I gave the name of _Concatenation Extraordinary_, and which will be found described in _Later Magic_, page 94. In effect it consisted of the magical welding of a number of loose iron links into a continuous chain. It was performed by the aid of a Black Art table, a bottomless tumbler, and a silk thread. “Though I say it that shouldn’t,” it was an ingenious trick, and I was very proud of it. Unfortunately, some good natured friend (I rather think it was Mr. David Devant) pointed out to me that about ninety-five per cent of my ingenuity was wasted, inasmuch as the same effect, so far as the spectator was concerned, could be produced by infinitely simpler means, viz.:--by using a glass with double mirror partition, when all the other paraphernalia became unnecessary. You had only to load the hinder compartment with the complete chain, and after a due amount of “talkee-talkee,” drop the loose links into the forward one, turn the glass round, and the deed was done.

The trick, as a trick, was just as good in its new shape as before, but being at that time (comparatively) young and foolish, its extreme simplicity spoilt it for me, and I lost all interest in it. Not long since, however, I was reminded of it by coming across the chain and links which had figured in my performance of the trick, and it struck me that, in a slightly modified form, it may still be worth the attention of the drawing-room conjurer.

The requirements for the trick in this, its latest form, are as follows:

First, the mirror glass; and as to this I may note in passing that the “mirror” is best made of tin-plate, not too highly polished, in place of the looking-glass plate which was, until a quite recent period, generally employed for the purpose.

Secondly, a length of small iron chain, made up of twenty-six links, connected in the centre by a twenty-seventh link of brass.

Thirdly, two shorter lengths of similar chain, consisting of thirteen links each, and a loose brass link, corresponding to the one in the centre of the longer chain. The complete chain is to be placed at the outset in the hinder compartment of the mirror glass, which should be of such a size that the chain nearly fills it.

Lastly will be needed a bottle containing Eau de Cologne, of which a few drops have been poured on the chain in the glass.

The patter may run to something like the following effect.

“You are doubtless aware, ladies and gentlemen, that electricity is now largely employed in the welding of metals. Of course to produce such a result on a large scale, such as welding guns, enormous strength of current is required; amounting in fact to millions of ampères, or volts, or ohms, or watts. I blush to confess I don’t know which is which, but it’s of no consequence. If I had ever so many ampères, or the rest of it, I shouldn’t know what to do with them. I am only able to manufacture my electricity on a very small scale, but with the aid of a little magic, I get very good results.

“You are also no doubt aware that when certain metals, particularly copper and zinc, are brought into close connection, an electrical current is set up between them. The same thing applies, in a less degree, to iron and brass, as I hope to be able to show you.

“I have here two short lengths of iron chain. Will somebody be kind enough to count the links? You will find, I think, that there are exactly thirteen in each. Please notice this, because, in some mysterious way, it has something to do with the success of my experiment. You know thirteen is an unlucky number, and the chains themselves don’t like to consist of that number of links, and if they can alter it, they try to do so. I am going to give them the opportunity, with a little electrical assistance. Thirteen, as I have said, is an unlucky number, and twice thirteen makes twenty-six, which is not much better, but if you add one more, you get twenty-seven, which is a very lucky number indeed. Everybody knows that three is a lucky number. Three times three are nine, which of course must be luckier still, and three times nine are twenty-seven, which is naturally best of all.

“Now I am going to give these two chains an opportunity to convert themselves into that lucky number, by taking in this extra link, which as you perceive is brass, an opposition metal. Observe, I drop one of the chains into this glass. See that I do so fairly. Then I drop in the single link, and lastly, the other piece of chain. And now, in order to set up an electrical reaction, I add just a few drops from this bottle of Eau de Cologne. As a matter of fact, a little salt and water would have the same effect, but I use Eau de Cologne because it smells nicer. And now I must ask the loan of some lady’s handkerchief, to cover the glass, and concentrate the electric current.”

Holding the handkerchief in right hand, pick up the glass with left hand, and raise it a few inches from the table. In lowering it, cover it with the handkerchief, and at the same time give it the necessary half-turn. Take out your watch, and make believe to time the operation, remarking, “I find it needs a full half-minute, to allow the charm to work. Time! Let us see how we have succeeded.”

Take off the handkerchief, and draw the chain slowly out of the glass. “Yes. All is well. I should say welded, and I trust you will say, ‘Well done.’ The chain is complete, and now consists of twenty-seven links, the lucky number. Perhaps some gentleman will verify the fact.

“I must tell you frankly that I don’t guarantee the correctness of my explanation. I can’t say exactly how much the electricity has to do with it. I only know that if you go to work the right way, which means, do as I do, you get the result, and there you are. This experiment always provokes a lot of discussion. The other evening one gentleman said it was done this way. A lady said it was that way, and a sharp boy (the younger they are the more they know) was quite sure it was done another way altogether. But they were all wrong. It is done just the way I have shown you, and if you do as I do, and say as I say, you will no doubt produce the same result.[7] If you don’t, well, you will be no use as a conjurer, and you had better go into some other business.”

Some less instructed reader may possibly enquire, “But why the Eau de Cologne? What does that do?” Precisely nothing, and therein lies its virtue. As indicated in the section on “patter” (_post_) it often happens that some little bit of spoof, supererogatory in reality so far as the spectator is concerned, is accepted as covering the real key to the puzzle. This is a case in point. Taking it for granted that the Eau de Cologne would not be used without _some_ reason, the spectator sets to work to discover that reason, and so gets farther from the real solution.

[7] This last bit of patter is a plagiarism from somebody or other, I rather think the late Dr. Lynn.

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.

(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.

_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.

THE BOUNDING BEANS

This is another application of the principle introduced by Signor Molini and utilised in the trick last described.

The requisites for the trick are as follows:

(1) Mirror glass; at the outset, empty.

(2) Two tubes of cardboard, sheet brass, or zinc, as A and B in Fig. 17. The height and width of A are about 3½ and 2½ inches respectively. B is a little taller, but a trifle less in diameter.

(3) A third tube, C, with its lower edge turned inward an eighth of an inch all around. This tube is a little shorter than A, and in diameter a trifle smaller than B, which must pass easily over it. Attached to either side of its upper edge, outside, are soldered two little wire hooks, the points on the outside directed downwards.

(4) A coil of paper ribbon, of such size as to fit closely into the lower end of C, and forming, when so placed, a temporary bottom to it. The inner end of the coil must be drawn up an inch or so, so as to form a little cone in the centre.

(5) A similar coil unwound into a loose mass of paper ribbon.

(6) About three-quarters of a pint of haricot beans. Of these a sufficient number must be poured into C (around the little cone), to fill it. The remainder are to be brought forward on some sort of tray.[9]

C loaded as last described, is to be placed within B.

The trick may be introduced as follows:

“Most of you, I dare say, have seen the little natural curiosity known as the Jumping Bean. To all appearance these are just like other beans; but if you spread a dozen or so of them on the table and watch them carefully, you presently see one or more of them turn over, or even make a little jump. A young and lively bean will sometimes hop as far as half an inch.

“Scientific gentlemen tell us that their agility is caused by a little insect inside the bean. When he wags his tail, or scratches himself with his hind leg, it causes the bean to turn over, or to make a hop. That seems to me rather a lame explanation because there is no hole in the bean that the insect could possibly have got in at. I believe myself, that they are in truth magic beans, and I have been trying to train some beans of my own to do the same thing on a larger scale, and in such a way that you can all see them do it.

“Here are my beans.” (Show those on tray.) “Examine them as much as you like. The more you examine them, the more you won’t find anything particular about them. You won’t notice any difference between them and any other beans, but as a matter of fact they are a good deal more energetic than beans of the ordinary kind, and when they get to know and love you, they will do all sorts of remarkable things.

“I will pour a few of them into this glass.” (The front compartment of the mirror glass is filled to about two-thirds of its height.) “To prevent their getting out again without your knowing it I will press them down with a handful of these pretty paper shavings.”

This is also done, the quantity of paper being so regulated, in accordance with previous experiment, that when pressed down it shall come half an inch or so below the brim of the glass.

“To make matters still more secure I will ask the loan of a lady’s handkerchief to cover the glass with.”

The handkerchief is taken in the right hand, the left meanwhile raising the glass a little way to meet it. In covering and lowering it again to the table the needful half-turn is made.

“I will not touch the glass again until the experiment is finished. Meanwhile I want to call your attention to these two tubes. You will observe that one of them is slightly larger than the other. A gentleman told me the other evening that I was wrong in saying so. He maintained that the one was smaller than the other. I didn’t argue with him. I never do with that sort of man. It is just a question of the point of view. Anyhow, I had the one made larger, or the other one smaller, whichever way it is, so that the one can go comfortably over the other, like this.”

A, first carelessly moved about so as to show clearly that it is empty, is brought down over B and lifted off again, carrying off within it C and its load; after which B is in turn shown to be empty.

“Now I am going to order the beans to jump out of the glass and into one or other of these empty tubes, at your own choice. Right? or left? Which shall it be?”

Performer asks the question standing behind his table, and by means of the familiar equivoque (“my” or “your” left or right) interprets the answer to mean A.

“And now I have only to pronounce the proper magic spell. The trouble is to remember the right one. They are rather confusing, and if you happen to pronounce the wrong one, or even pronounce the right one the wrong way, the consequences may be serious. But I think I know this one pretty well. ‘Peripatetico-paticocorum.’ I fancy I have got it right. I don’t know quite what it means myself, and nobody seems to be able to tell me. A Japanese gentleman told me he thought it was Spanish, but a Spaniard said he felt sure it was Welsh. Somebody else suggested that I should ‘ask a pleeceman.’ I did ask a policeman, and he said, ‘Go to--’ somewhere I won’t mention, but I don’t think he meant it as a translation. My own idea is that it is a bit of Esperanto. Anyhow, it has the desired effect; for you see the beans have left the glass” (uncovering it and showing it empty), “and they have jumped into this tube, which is what I wanted them to do.”

The beans are poured from the tube into the vacant portion, now to the front, of the mirror glass, with due care that the coil at bottom shall not be seen.

“But there’s something wrong here. I must have made some little mistake in the pronunciation of the magic spell, for the paper seems to have disappeared as well as the beans. There is certainly no room for it in the tube. Here it is, though, or some of it.”

The paper is unwound, and when it comes to an end the wand is passed through A and C (now bottomless) together, again proving (?) that the former which is always shown to the spectators could not possibly have contained the beans in any natural way. A moment or two later the inner tube can easily be got rid of behind the mass of paper ribbon.

[9] The little dishes of paper pulp sold for picnic purposes will be found to answer this and similar purposes excellently and have the further advantage of being exceptionally portable.

LOST AND FOUND

This trick may be worked either upon a black art table or black art mat. We will assume that the latter is used.

The requisites for this trick will in such case be as follows:

1. The mat. This may be a small circular one, a few inches in circumference without pocket.

2. A handkerchief, fourteen or fifteen inches square, of some gaudy pattern, carefully folded and placed in a square Japanese handkerchief box.[10]

3. A circular velvet patch as described _ante_, in the chapter dealing with novel applications of the Black Art principle.

4. A half-crown placed in a pochette, or otherwise so as to be readily get-at-able.

_Presentation._ Performer opens the box and takes out the handkerchief, which he carefully unfolds, handling it as if it were something of extraordinary value.