Eddie Joseph

The Cone of Cagliostro

When the late Ralph W. Hull first introduced his conception of the "CONE and BALL" trick, it appealed to me considerably because I had felt that it cou'd be tied up with the Cups and Balls which after all was my a'l time favourite. Using his idea as a pattern I proceeded to work out my own routine and method of handling which I am now passing on to you. You will notice that this is somewhat different from and more elaborate than the original.

The cone I use is made out of cardboard and it's legitimate use is to serve as a core for sewing cotton. It is about 7 inches tail and 2i inches in diameter at its wide open end.

Besides the cone you will also need the following. Two white balls. One black ball. An egg, a lemon and a square of silk. I refrain from giving the precise size of the balls and silks because these will have to be best determined by each individual. They should at least be as large as one can handle with convenience . The white balls should be made out of hard rubber and the black one of wood. The reason for the two different materials is so that you should be able to differentiate between the two colours by sense of touch alone.

First roll the silk into a ball and slip a rubber band around it to prevent it from unfurling. The ball of silk is now placed in

position in a billiard Ball clip fastened under the left side of coat. Under the right side of the coat should be another clip into which one of the white balls is placed. The other white along with the single black ball should be placed in the right trouser pocket. In the same pocket you also place the lemon and the egg. It is needless to mention that the egg should either be the prop kind or in the alternative a hard boiled one.

PRESENTATION.—Introduce the cone. Exhibit it from all sides and then toss it up into the air. Catch it as it descends and then walk up to a side table on the left and rest the cone on it. However, as the cone is being lowered on the table, with the right hand, the baH of silk is stolen with the left.

Having secured the ball of silk, swing to the right, and reach into space with the left hand. Nip the extended corner of the silk and throw out the roll. This action will dislodge the rubber band and the ball of silk will unfurl and create the illusion of the sudden appearance.

However, while the silk is being produced from space in the left hand, the right hand under cover of your body calmly disengages the white bail from the opposite side of coat.

At this point you turn to face the audience. Transfer the silk from the left to the right hand. When the two hands come together and under cover of the sifk transfer, the left hand takes away the ball from the right. By this ruse you will have succeeded in convincing the spectators, in a tacit form, that besides the silk, your hands are otherwise empty.

You now close the fingers of the left hand into al oose fist and drape the silk over it. You next begin to squeeze your fingers causing the ball to ascend until its contour becomes plainly discernible through the sifk. Whip the silk away and expose the ball sitting on top of your fist.

The silk is laid carelessly on the table and the ball is made to rest on the left palm. Exhibit the ball in this position for a moment or two and then pick up the cone and lower it over the balf. Having covered the ball, you proceed to explain that you will now cause the ball to leave the cone and find its way into your pocket. Co through action of making a pass from the cone to your pocket. Reach in pocket as though to bring out the ball, palm the other white ball, and remark, "Yes the ball has arrived just as I said . . . but that's easy enough. The harder part is to make the ball return to the cone". As you say this, repeat the former pass in reverse i.e. from pocket to the cone and then lift up the latter to expose the ball again on your left palm.

This little interlude is accepted by all in good humour and although by all intent and purpose it seems like a hoax, nevertheless it has enabled you to get secret possession of the second white ball in a disarming manner.

You now remark "I see you do not believe what I claim to have done. For the benefit of the sceptics I shall repeat it". Permit the exposed ball to roll from its position in the centre of palm to the finger end of hand. Lower the cone on the centre of palm. In doing so you load in the palmed white ball. This action is not unlike the secret introduction of a ball as in the old Cups and Balls trick. For the benefit of those who have had no previous experience in this direction I shall detail the necessary moves at the end of this article.

Having introduced the second ball surreptitiously under the cone, pick up the original from over the fingers and return it to your pocket. When the hand is out of sight, you pa!m the black ball and bring out your hand. You again declare that you will now cause the ball to leave your pocket and find its way under the cone. Raise the cone and expose the white ball.

Now lay the cone on top of the silk which you had earlier tossed on the table. Hold the white bail between the tips of the first finger and thumb of the left hand. The right hand approaches the left and takes the white ball away. When the hands are together, the 2nd, 3rd and little finger of the left hand pull the black ball away from the right. The white ball, at this stage will be in the right finger tips and the black one hidden in the left palm, the action is repeated in reverse to get the black ball secretly back again into the right hand palm. This move is known as the secret transfer and Figures 1, 2 and 3 depict the necessary actions clearly.

Having proved that all you have in your hands is but the white ball, you now pass the fingers of the right over the white ball which incidentally is held in the left hand. Co through this action two or three times and finally carry it away in the curved fingers of the right, while the fingers of the left take hold of the black ball which until now had been concealed in the palm of the other. This action creates the illusion that by simply passing a hand over the ball you had caused the white to change into black.

Co through the previous action of the "double transfer" again giving them an alternate view of the empty interior of both hands

and finish up by getting the black ball back into the fingers of the left. Figure 4 illustrates how the left fingers GIVE UP THE WHITE BALL AND TAKE THE BLACK IN EXCHANGE.

You now remark "You must be wondering what happened to the white bafl. I'll let you in on a secret ... I pushed it into the black". As you say this reach behind the black and bring the concealed white ball into view.

Display both the balls for a while and then return them together into your pocket. Palm the egg and bring out the hand supposedly empty . Pick the cone from the table with the left hand and turn it so that the spectators will get a clear view of the interior.

Whichever the preference, raise the cone from over the hand and expose the EGG. This is the first real SURPRISE of the routine. They have encountered the EGG unexpectedly. You prepared their minds to anticipate one of the two balls but brought about a totally different result.

Allow the egg to roll towards the fingers of the left hand and lower cone on the bare palm. In doing so, you introduce the lemon in the usual secret manner. Pick up the egg and return to pocket. The white baM is again palmed out. You continue "If you are wondering where the egg came from . . . the answer is here". Raise the cone and reveal the LEMON. This is the second surprise. Stand the cone on top of the silk lying on the table. In doing so, the white ball is introduced under it. Either return the lemon to pocket or toss out to someone in the audience.

Transfer the cone to the right hand and turn the feft over front to back and then front again. Stand the cone on the flat palm of the left as before and load in the egg in the process.

Reach into your pocket with the right hand and bring out one of the white balls first and display it with the remark "A white ball", return it to the pocket and then bring out the black and say "and here a black one". Return this to the pocket as well and on the way out bring the LEMON concealed in the palm. You now ask them which of the two colour ball would they like you to pass invisibly under the cone.

Reach into pocket and openly bring out the second white ball. Toss this up once or twice and ultimately simulate the throw but rea.ly retain it in palm. Hold the top of the cone with the right hand, to steady it, and pull the silk away from under it with the left. Pass the silk to the right hand. The silk is now waved a couple of times in the direction of the cone and then returned to pocket and the palmed white ball got rid of at the same time. Invite someone to raise the cone and he will be surprised to find that the white ball has returned under it.

As I said before, I shall now explain how to introduce the ball secretly under the cone. Stand with the left hand at waist level. The hand is opened out flat. Stand the cone on the centre of the palm. Your right side is facing

the audience. Crip the cone in the right hand. This is done with the thumb and the first and second fingers. Raise cone a few inches above the palm NOT in a direct vertical line but at a slight 'oblique'. However as the hand goes up with the cone, curve in the 3rd. and little finger around the ball and pull it away from the centre of the palm. Lower the cone on the centre of the palm again and at the precise moment of contact straighten out the two fingers and leave the ball behind which is covered unseen by the cone. This action must be accomplished SLOWLY, DELIBERATELY and NATURALLY. Figures 5 and 6 will illustrate the position of the right hand after cone is raised and just prior to straightening out the three fingers to release the ball on the left palm.

MAX ANDREWS (Vampire) Ltd.

We are happy to announce that His Excellency Dr. Sir Alexander Cannon, K.C.C.B., M.D., has joined the Board of Directors of the above-named newly formed Company.

Emeritus Professor Dr. Cannon is famous as the Head of the International Isle of Man Clinic, where people from all over the world are treated for nervous and neurotic disorders.

His life-long interest in magic is also well-known and he has specialised in Yoga and the presentation of Occult Effects. Anyone who has had the opportunity of visiting Laureston Mansion House, Douglas, Isle of Man, where Dr. Cannon has his Enchanted Hall and private theatre, capable of seating 150 people, count this as one of their most memorable experiences.

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