Passauer’s final performance was one of frightening brilliance; it was well attended by professional magicians, who agreed later that as a single performance it outshone the greatest of Eisenheim’s evenings. Passauer began by flinging into the air a handful of coins that assumed the shape of a bird and flew out over the heads of the audience, flapping its jingling wings of coins; from a silver thimble held in the flat of his hand he removed a tablecloth, a small mahogany table, and a silver salver on which sat a steaming roast duck. At the climax of the evening, he caused the properties of the stage to vanish one by one: the magician’s table, the beautiful assistant, the far wall, the curtain. Standing alone in a vanished world, he looked at the audience with an expression that grew more and more fierce. Suddenly he burst into a demonic laugh, and reaching up to his face he tore off a rubber mask and revealed himself to be Eisenheim. The collective gasp sounded like a great furnace igniting; someone burst into hysterical sobs. The audience, understanding at last, rose to its feet and cheered the great master of illusion, who himself had been his own greatest rival and had at the end unmasked himself. In his box, Herr Uhl rose to his feet and joined in the applause. He had enjoyed the performance immensely.
Perhaps it was the strain of that sustained deception, perhaps it was the sense of being alone, utterly alone, in any case Eisenheim did not give another performance in the last weeks of the fading century. As the new century came in with a fireworks display in the Prater and a hundred-gun salute from the grounds of the Imperial Palace, Eisenheim remained in his Vienna apartment, with its distant view of the same river that flowed through his childhood city. The unexplained period of rest continued, developing into a temporary withdrawal from performance, some said a retirement; Eisenheim himself said nothing. In late January he returned to Bratislava to attend to details of his father’s business; a week later he was in Linz; within a month he had purchased a three-story villa in the famous wooded hills on the outskirts of Vienna. He was forty or forty-one, an age when a man takes a hard look at his life. He had never married, although romantic rumors occasionally united him with one or another of his assistants; he was handsome in a stern way, wealthy, and said to be so strong that he could do thirty knee-bends on a single leg. Not long after his move to the Wienerwald he began to court Sophie Ritter, the twenty-six-year-old daughter of a local landowner who disapproved of Eisenheim’s profession and was a staunch supporter of Lueger’s anti-Semitic Christian Social Party; the girl appears to have been in love with Eisenheim, but at the last moment something went wrong, she withdrew abruptly, and a month later married a grain merchant from Graz. For a year Eisenheim lived like a reclusive country squire. He took riding lessons in the mornings, in the afternoons practiced with pistols at his private shooting range, planted a spring garden, stocked his ponds, designed a new orchard. In a meadow at the back of his house he supervised the building of a long low shedlike structure that became known as the Teufelsfabrik, or Devil’s Factory, for it housed his collection of trick cabinets, deceptive mirrors, haunted portraits, and magic caskets. The walls were lined with cupboards that had sliding glass doors and held Eisenheim’s formidable collection of magical apparatus: vanishing birdcages, inexhaustible punch bowls, devil’s targets, Schiller’s bells, watch-spring flowers, trick bouquets, and an array of secret devices used in sleight-of-hand feats: ball shells, coin droppers, elastic handkerchief-pulls for making handkerchiefs vanish, dummy cigars, color-changing tubes for handkerchief tricks, hollow thumb-tips, miniature spirit lamps for the magical lighting of candles, false fingers, black silk ball-tubes. In the basement of the factory was a large room in which he conducted chemical and electrical experiments, and a curtained darkroom; Eisenheim was a close student of photography and the new art of cinematography. Often he was seen working late at night, and some said that ghostly forms appeared in the dim-lit windows.
On the first of January 1901, Eisenheim suddenly returned to his city apartment with its view of the Danube and the Vienna hills. Three days later he reappeared onstage. A local wit remarked that the master of illusion had simply omitted the year 1900, which with its two zeros no doubt struck him as illusory. The yearlong absence of the Master had sharpened expectations, and the standing-room-only crowd was tensely quiet as the curtains parted on a stage strikingly bare except for a plain wooden chair before a small glass table. For some in that audience, the table already signaled a revolution; others were puzzled or disappointed. From the right wing Eisenheim strode onto the stage. A flurry of whispers was quickly hushed. The Master wore a plain dark suit and had shaved off his beard. Without a word he sat down on the wooden chair behind the table and faced the audience. He placed his hands lightly on the tabletop, where they remained during the entire performance. He stared directly before him, leaning forward slightly and appearing to concentrate with terrific force.
In the middle of the eighteenth century the magician’s table was a large table draped to the floor; beneath the cloth an assistant reached through a hole in the tabletop to remove objects concealed by a large cone. The modern table of Eisenheim’s day had a short cloth that exposed the table legs, but the disappearance of the hidden assistant and the general simplification of design in no sense changed the nature of the table, which remained an ingenious machine equipped with innumerable contrivances to aid the magician in the art of deception: hidden receptacles or servantes into which disappearing objects secretly dropped, invisible wells and traps, concealed pistons, built-in spring-pulls for effecting the disappearance of silk handkerchiefs. Eisenheim’s transparent glass table announced the end of the magician’s table as it had been known throughout the history of stage magic. This radical simplification was not only aesthetic: it meant the refusal of certain kinds of mechanical aid, the elimination of certain effects.
And the audience grew restless: nothing much appeared to be happening. A balding man in a business suit sat at a table, frowning. After fifteen minutes a slight disturbance or darkening in the air was noticeable near the surface of the table. Eisenheim concentrated fiercely; over his right eyebrow the famous vein, shaped like an inverted Y, pressed through the skin of his forehead. The air seemed to tremble and thicken — and before him, on the glass table, a dark shape slowly formed. It appeared to be a small box, about the size of a jewel box. For a while its edges quivered slightly, as if it were made of black smoke. Suddenly Eisenheim raised his eyes, which one witness described as black mirrors that reflected nothing; he looked drained and weary. A moment later he pushed back his chair, stood up, and bowed. The applause was uncertain; people did not know what they had seen.
Eisenheim next invited spectators to come onto the stage and examine the box on the table. One woman, reaching for the box and feeling nothing, nothing at all, stepped back and raised a hand to her throat. A girl of sixteen, sweeping her hand through the black box, cried out as if in pain.
The rest of the performance consisted of two more “materializations”: a sphere and a wand. After members of the audience had satisfied themselves of the immaterial nature of the objects, Eisenheim picked up the wand and waved it over the box. He next lifted the lid of the box, placed the sphere inside, and closed the lid. When he invited spectators onto the stage, their hands passed through empty air. Eisenheim opened the box, removed the sphere, and laid it on the table between the box and the wand. He bowed, and the curtain closed.