Burling Hull- Sleights And Trick

BULLETIN OF LATEST SLEIGHTS AND TRICKS. Burling Hull.

W I L L ALMA

M.I.M.C. (LONDON)

T h e State Library of Victoria " A L M A CONJURING COLLECTION" THE PASS SURPASSED.

^

A S Y of a c c o m p l i s h m e n t and clean of o p e r a t i o n , p u z z l i n g to the trained e y e b e c a u s e of its u n s u s p e c t e d simplicity and a b o v e all e m i n e n t l y p r a c t i c a l w h e r e the pass is impractical, it w o u l d be difficult to find a m o r e v a l u a b l o m a n i p u l a t i o n for the up-to-date card w o r k e r , or one m o r e suited to the n e e d s of the m a g i c a l s t u d e n t w h o h a s n o t y e t a c q u i r e d a p a s s w h i c h is invisible to the s p e c t a t o r on the w a t c h f o r the s l e i g h t . E f f e c t : P e r f o r m e r has three c a r d s selected and replaced on top of pack w h i c h is then cut (the p a c k m a y be cut in the O r t h o d o x m a n n e r if desired, cards b e i n g placed b e t w e e n the t w o p o r t i o n s ) b r i n g i n g c a r d s to center. T h e (Jack is n o w passed f r o m hand to h a n d - w h i l e d e s c r i b i n g the e f f e c t to f o l l o w — t h i s f o r the sake of c o n v i n c i n g the s p e c t a t o r s that no separation is b e i n g retained by the l i n g e r s as required in the pass. T h e c a r d s are m i l l e d and the s p e c t a t o r invited to insert his linger in the p a c k at a n y point, as illustrated in N o . 1, the p a c k b e i n g i m m e d i a t e l y c u t at that point and the familiar d o v e t a i l shuflle ( N o . 4) e x e c u t e d . T h e shuttle is o n c e repeated and the cards, impossible as it a p p e a r s to the audience, are w i t h i n the p e r f o r m e r ' s p o s s e s s i o n . 1 will o f f e r a s i m p l e s u g g e s t i o n for the c o n c l u s i o n of the trick t h o u g h it m a y f o l l o w any f o r m the p e r f o r m e r desires. T h e p a c k m a y be; placed in p e r f o r m e r ' s p o c k e t a f t e r it is d e m o n s t r a t e d that the latter is e m p t y , and a f t e r an i n t r o d u c tion, to t h e e f f e c t t h a t he will d e m o n s t r a t e the e f f e c t of " K i n d ness and mental influence on p l a y i n g c a r d s , " he calls for v a r ious c a r d s and p r o d u c e s t h e m f r o m his p o c k e t . In o r d e r to p r o v e t h a t " a n y card m a y be p r o d u c e d j u s t as readily,'' h e request^. one of the s p e c t a t o r s to call f o r the card w h i c h lie selected, and lie (the p e r f o r m e r ) will produce it. The selected card is then produced f r o m the p o c k e t and the plan c o n t i n u e d w i t h the r e m a i n i n g c a r d s ; e x c e p t t h a t in the case of the last card, the p e r f o r m e r s t a t e s t h a t he will a n n o u n c e the n a m e of the card b e f o r e p r o d u c i n g it, s i m p l y r e q u i r i n g the s p e c t a t o r to think of the c a r d ; and t h u s the trick is c o n c l u d e d . S e c r e t and O p e r a t i o n : T h e trick d e p e n d s upon a subtle, b u t simple operation ou one card. Hither, u p o n t a k i n g the packa f t e r it h a s been shuffled, or a f t e r c a r d s h a v e been selected and w h i l e p a r t i e s are m e m o r i z i n g cards, the b o t t o m card of the pack is d r a w n b a c k about o n e - q u a r t e r inch b y m e a n s of the r i g h t t h u m b (as illustrated in N o . 2) and the corner of that card is bent u n d e r (as i l l u s t r a t e d in N o . 3, w h i c h is a v i e w of the p a c k f r o m b e l o w ) . T h e selected c a r d s are n o w placed on top of the pack and the pack cut, b r i n g i n g the selected c a r d s

No. 3. Rending Corner.

to the center, and incidentally the cornered card directly over them. A n o t h e r method is to cut the pack and offer the upper

portion t o the spectators to place their selected cards upon (this is the reverse of the usual method, but by c u t t i n g the pack while spectators are l o o k i n g at their cards, they will not know which is the upper or l o w e r p a c k e t ) . T h e pack is passed from hand to hand, fingers pressing the pack together, m a k i n g the turned corner invisible as in N o . 5 (the a r r o w and C indicating position of cornered c a r d ) . T h e pack b e i n g cut as in N o . 1 a few times, the performer divides the pack into t w o portions, taking care to include the cornered card in upper portion as lie shuffles them together as in No. 4 in f o l l o w i n g m a n n e r : A s the cornered card appears ready to fall he inter-

rupts the running of the cards in the left hand until the cornered card and the selected cards have fallen, thus assuring that the selected cards will retain their relative position—and con-

tinues the shuffle w i t h both packets. T h i s action should be made to correspond with the shuffle so that it will not appear to interfere with a fair m i x i n g o f the cards. T h e second time, the pack is cut at the cornered card, the right t h u m b nail b e i n g inserted under the turned corner and l i f t i n g up that card and all those a b o v e it. B y shuffling the cards again and a l l o w i n g

the top cards of the lower portion to fall on top at the end, the

selected cards will be left on top. T a k i n g the pack in the manner illustrated in N o . 6 ; opposite m o v e m e n t s of the upper and lower hands as indicated by the w h i t e a r r o w s will suffice to straighten the bent card w h i c h m a y later be b r o u g h t to the center of the pack and should it come to lig;ht at any time, will be considered an accidental i n j u r y to the card from previous use.

N o . 4.

N o . 5. CHAMELEON

N o . 6. CARD.

T h i s p u z z l i n g little card m y s t e r y is e x c e l l e n t l y a d a p t e d to o f f - h a n d p r e s e n t a t i o n at the card table. I find it an e x c e l l e n t m e a n s of e x c u s i n g m y s e l f from p r e s s i n g i n v i t a t i o n s to fill out a table of card p l a y e r s . If m y r e a d e r d e t e s t s card p l a y i n g as h e a r t i l y as I do, he w i l l v o t e m e his sincere t h a n k s for this release f r o m the b o r e d o m of card p l a y e r s , for he w o u l d h a v e difficulty in i n d u c i n g e v e n the m o s t e n t h u s i a s t i c card fiend to take a hand a g a i n s t h i m a f t e r t h e f o l l o w i n g d e m o n s t r a t i o n . E f f e c t : T h e m a g i c i a n g a t h e r s the c a r d s f r o m the t a b l e and a f t e r a p r e l i m i n a r y shuffle a l l o w s a c a r d to be selected b y one of the p a r t y w i t h i n s t r u c t i o n s n o t to p e r m i t the rest of the c o m p a n y to see the face. T h e c a r d is n o w p l a c e d on the t o p of the pack and p a c k cut b y s p e c t a t o r . A f e w additional c u t s are r a p i d l y m a d e b y p e r f o r m e r and a second s p e c t a t o r a l l o w e d t o r e m o v e a card. T h i s card r e t u r n e d and " l o s t in p a c k " the r e m a i n i n g s p e c t a t o r or card p l a y e r is a l l o w e d to select a n d return a card. T h e p e r f o r m e r n o w r e m o v e s a card, s t a t i n g t h a t it is h i s choice, and t h a t b y m e r e l y w a i v i n g it in air (suiti n g action to w o r d s ) he will c h a n g e it to the c a r d selected b y the first p a r t y . T h e p h e n o m e n a is d e m o n s t r a t e d to the satisf a c t i o n of the p a r t y w h o selected the first card, w h e r e u p o n the p e r f o r m e r a s k s p a r t y to place it on t o p of p a c k and c o u n t carefully three c a r d s f r o m the b o t t o m p l a c i n g t h e m on top. The p a c k is taken b y p e r f o r m e r and g i v e n a ruffle, then i m m e d i a t e l y handed to second p a r t y w i t h i n s t r u c t i o n s to c o u n t d o w n to the f o u r t h card, w h i c h will n o w be f o u n d to be the second card selected. T h e card is p l a c e d on t o p of p a c k in the h a n d s of p e r f o r m e r w h o s t a t e s t h a t as a fitting c l i m a x , he will produce f r o m the pack a n y one of the three c a r d s desired in the f o l l o w i n g m a n n e r : T h e p e r f o r m e r w i l l c o u n t t o t h r e e and at

the w o r d " T h r e e , " the)' are each to p r o n o u n c e the n a m e of the card t h e y selected and that w h i c h is called for in the loudest tones will fly to the to]) of the p a c k . A t the signal, they all call out their c a r d s (?) p e r f o r m e r t h r o w s the card f a c e up on t h e table and they find t h e y h a v e all selected t h e s a m e card. T h e effect of the three parties all c a l l i n g at t h e t o p of their v o i c e s f o r the s a m e card and l e a r n i n g that t h e y h a v e been tricked so c o m p l e t e l y , is l u d i c r o u s in the e x t r e m e ; and in the l a u g h that f o l l o w s , t h e y will all declare their p r e f e r e n c e for a less e x p e r t card p l a y e r . O p e r a t i o n : A s m a y be surmised, this trick is operated 011 the principle of the cornered card and in fact is an application of the s a m e idea as the f o r e g o i n g trick. T h e b o t t o m card is cornered and the card selected returned to top of p a c k , the usual c u t s are made and a final cut b r i n g s the selected card to the top a g a i n , and it is o f f e r e d to the second p a r t y w h o a c c e p t s it as a second c a r d — t h e m e t h o d b e i n g f o l l o w e d w i t h the third p a r t y — e a c h b e i n g w a r n e d not to a l l o w his card to be seen b y the other persons. T h e operation from this point on is o b v i o u s .

HENRY

HARDIN'S

HANDKERCHIEF

PRODUCTION.

T h i s handkerchief p r o d u c t i o n is u n d o u b t e d l y one of the c l e v e r e s t s l e i g h t s for the purpose of p r o d u c i n g a h a n d k e r c h i e f under conditions f o r b i d d i n g the use of fakes. T h e a m a t e u r will find it v e r y useful in a parlor or i m p r o m p t u p r o g r a m , ena b l i n g him to produce a silk at close q u a r t e r s . It is the origination of I l e n r y H a r d i n , w h o needs no i n t r o d u c t i o n , I a m sure. E f f e c t : S t a n d i n g w i t h r i g h t side to audience, p e r f o r m e r d r a w s back his sleeves, and e x h i b i t s his h a n d s in m u c h the same m a n n e r as if e x e c u t i n g the c h a n g e - o v e r - p a l m , e x c e p t t h a t t h e p a l m s d o not a p p r o a c h near e n o u g h for s u c h a t r a n s f e r . T h e hands are then placed t o g e t h e r and a silk p r o d u c e d .

B. H. A D D I T I O N A L W R I N K L E T O S H O W PALMS AT

BOTH

ONCE.

T o dispel a n y idea that the c h a n g e - o v e r - p a l m w a s e m p l o y e d w h i c h the m a n n e r of e x h i b i t i n g the hands m a y create, I h a v e devised a m e t h o d e n a b l i n g the p e r f o r m e r to s h o w both p a l m s at once and in such a logical m a n n e r that the m o v e m e n t s a p p e a r as part of a little p a n t o m i n e if the w o r d s are l e f t out. " I h a v e f r e q u e n t l y been a s k e d to explain the secret of m a k i n g silk h a n d k e r c h i e f s o u t of n o t h i n g . Even a magician c a n n o t a c c o m p l i s h such an i m p o s s i b i l i t y , but as there are m a n y

No. 7.

No. 8.

No. 9. After turn to right.

h a n d k e r c h i e f s and other articles floating a b o u t , i n v i s i b l e to o r d i n a r y e y e s , he s i m p l y r e m o v e s the o u t e r c o a t i n g of invisibility, a n d — t h e r e y o u are. F o r e x a m p l e , let us take this i n v i s i b l e silk tip here [catchi n g m o t i o n w i t h r i g h t h a n d ] — a n d d r a w i n g it t h r o u g h the h a n d s [suitable m o t i o n s of d r a w i n g i n v i s i b l e silk t h r o u g h h a n d s ] roll it u p into a ball and p l a c e it b e t w e e n the t h u m b and second finger. N o w witli this hand | s h o w i n g r i g h t as in N o . 10] t a k e the little ball of s i l k — k e e p y o u r e y e on i t — a n d place it b e t w e e n p a l m s , r u b b i n g it a b o u t until it b e c o m e s visible. [ N o . 12]. " A l l y o u h a v e to d o is rub it l o n g e n o u g h ; — o n l y b e sure y o u h a v e the h a n d k e r c h i e f , or y o u w i l l g e t no results." W o r k i n g : Fold silk small, and tie on right wrist (as in No. 7 with flesh pink thread. Draw cuff over it as in No. 8. When ready: s t a n d r i g h t side to a u d i e n c e and draw back sleeves. .Wheel to right, allowing left hand to fall so it will hide the silk on right wrist (see No. 9) while exhibiting right hand—then turn back to left, and bring silk into palm by forcing up with heel of hand till thread snaps.

ADDITIONAL

WRINKLE.

'

Either after, or without any previous exhibition of hands, go through the motions of catching silk in air with right hand and placing it between thumb and second finger, etc., (as described above). Then as you state you will take handkerchief

N o . 10. Showir.g hands.

in right hand, turn that hand toward audience as in No. 10, which enables them to see that both hands are entirely empty, yet does not expose the silk, which lies just back of the bend

of the right wrist (note a r r o w ) . A p p a r e n t l y take the "invisible" silk from left hand, letting hand pass onward, w h i l e fingers of left hand gather the silk from right wrist as in No. 1 1 . D r a w right back and develop handkerchief. (No. 12).

SUPER-SUPREME

FORCE.

In the opinion of m a n y to w h o m I h a v e t a u g h t this improved method of forcing, it is the finest and most subtle, as well as generally useful m e a n s ever devised. In fact, some of m y pupils have informed me years after learning it, that it is by far the most valuable sleight of their acquisition. A d v a n t a g e s : T h e element of risk with even the most a g g r e s s i v e spectator w h o m a y have a suspicion of the performer's intention is entirely eliminated b y the apparent absolute fairness of the operation. It is well adapted to c o v e r or turn off an error, in any trick, as it is available w i t h o u t previously e x e c u t i n g the pass, etc., to b r i n g card to center. E f f e c t : R u n n i n g the cards from hand to hand in the usual manner, a spectator is invited to indicate a card by placing his forefinger on it, but not to r e m o v e it. T o prove that the choice of card has not been influenced, p e r f o r m e r s u g g e s t s that party m a y c h a n g e his mind and indicate another card if he so wishes. T h e pack is now separated at that point indicated, and the card turned face t o w a r d audience or spectator, with request to memorize s a m e ; immediately after w h i c h the

No. 13. Course travelled by card under pack.

No. 14. llow cards are slid above forcing card (Jack S),

No. 15. Squaring top pack up so Jack comes at bottom.

c a r d s are g i v e n to the s p e c t a t o r s to shuffle. S e v e r a l c a r d s m a y be f o r c e d in s a m e m a n n e r or a n y trick in w h i c h it is necess a r y t h a t the card or c a r d s used to be f o r c e d o r k n o w n to the p e r f o r m e r b e f o r e hand, m a y n o w be p r e s e n t e d . S e c r e t and O p e r a t i o n : B r i n g card or c a r d s it is desired to force, to b o t t o m of pack. R u n c a r d s f r o m left to r i g h t in the usual m a n n e r , b u t s t a r t the a c t i o n w h i l e a p p r o a c h i n g audience, so as to g i v e t i m e for the f o l l o w i n g o p e r a t i o n : W i t h the second and third f i n g e r s of left a n d r i g h t hand w o r k the b o t t o m card o v e r t o w a r d r i g h t side in c o u r s e d e s c r i b e d b y a r r o w , till it r e a c h e s the position s h o w n in N o . 14. T h e c a r d s are still run f r o m left to r i g h t , b u t t h e y pass a b o v e the f o r c i n g c a r d ; w h i c h in the illustration is the " J a c k of C l u b s . " W h e n card is indicated, lift up that card w i t h all the c a r d s a b o v e it and b e f o r e s h o w i n g the face, s q u a r e up the u p p e r p o r t i o n as in N o . 15. T h e result is pictured b y the s i m p l e d i a g r a m in N o . 1 5 ; C b e i n g the card, p a r t y indicated, p a s s i n g b e t w e e n A the u p p e r c a r d s and B the b o t t o m or f o r c i n g card, w h i c h b e i n g on the b o t t o m is a c c e p t e d b y s p e c t a t o r s as the one he indicated.

CONCLUDING

THE

EFFECT.

O n c e the card or c a r d s desired are forced b y the a b o v e plan a n y such as the " T o r n and R e s t o r e d C a r d , " or the " R i s i n g C a r d s ' ' m a y be e x e c u t e d and w i t h b e t t e r e f f e c t than had a n y o t h e r s y s t e m of f o r c i n g been e m p l o y e d . F o r the c l u b r o o m or parlor entertainer, the f o l l o w i n g e f f e c t m a y be presented w i t h g r e a t success.

Effect:

A card is selected and returned to p a c k , c a r d s shuffled b y audience. P e r f o r m e r c o u n t s off an)- n u m b e r of cards desired b y a u d i e n c e and h a n d s t h e m to one of the spectators. T h e p a r t y s h o w s each one to a u d i e n c e one at a time, When the selected card is reached, the p e r f o r m e r c o m m a n d s him to stop, and a n n o u n c e s the n a m e of the card.

while the performer is blindfolded or turns his back. Operation:

W h e n p a c k is returned a f t e r shuffle, ruffle c a r d s and note w h e t h e r card is nearer top or b o t t o m . Ask h o w m a n y c a r d s shall be used. S e v e r a l n u m b e r s will be c a l l e d — s e l e c t one near 25. C o u n t off t h e desired n u m b e r , f a c e up, and note w h a t position the selected card ( s a y the A c e of S p a d e s ) lies f r o m the end y o u c o u n t f r o m ( w h i c h should be the end the card is n e a r e s t ) and hand p a c k to the spectator. S a y the n u m b e r is 18 f r o m the top. P r o c e e d as in description, h a v i n g showing i t . C o u n t the c a r d s and w h e n the 18th is reached, say " S t o p ! ! Y o u are h o l d i n g the A c e of S p a d e s , w h i c h is the card s e l e c t e d , " w h i p p i n g off blindfold.

party hand you each card after

AUTO-OPERATIVE SHUFFLE.

J

T h i s is n o t h i n g but a s e l f - o p e r a t i v e f a l s e shuffle, e x e c u t e d b y the a u d i e n c e t h e m s e l v e s , u n d e r the impression t h a t t h e y are m i x i n g the cards. O f course, it is s i m p l e — a s in is trick—but t h a t v e r y f a c t c o n t r i b u t e s t o w a r d its perfection.

fact

really good

any

W h i l e I hit upon the idea s o m e y e a r s b a c k , and included it in m y instruction c o u r s e s a l o n g w i t h the h u n d r e d and one little incidentals that the m a g i c a l i n s t r u c t o r p a s s e s on to his p u p i l s — a n d w a s n a t u r a l l y under the i m p r e s s i o n t h a t it w a s p a r t l y to m y c r e d i t ; I later learned, h o w e v e r , t h a t the idea is e m p l o y e d in H e n r y H a r d i n ' s " H i n d o o M i r a c l e C a r d T r i c k , " and the credit is u n d o u b t e d l y due to Air. H a r d i n , ( u n l e s s his date is later than m i n e — f o r I am not a c q u a i n t e d w i t h the particulars).

Effect:

A f t e r any r e g u l a r f a l s e shuffle the p e r f o r m e r conc l u d e s w i t h w h a t in all f a i r n e s s a p p e a r s to be a m o s t thoro u g h m i x i n g of the cards, a c c o m p l i s h e d b y d r o p p i n g the c a r d s in a b o r r o w e d hat and i n t r o d u c i n g a r e p r e s e n t a t i v e m e m b e r of the audience

Secret:

to shake them up thoroughly.

T h e secret lies in the p e c u l i a r f a c t ( e a s i l y ascert a i n a b l e ) that the cards so placed, c a n n o t be disturbed in their order of a r r a n g e m e n t b y s h a k i n g the hat. I t is one of those peculiar principles w h i c h at first a p p e a r to be o u t l a w e d b y r e a s o n , — a n d the m a g i c i a n t a k e s a d v a n t a g e of as a principle of delusion.

Observe the following:

of

F o r the p u r p o s e s e c u r i n g the b e s t e f f e c t , I o f f e r the f o l l o w i n g s u g g e s t i o n s w h i c h are u s e f u l . It is w e l l to c o v e r the hat w i t h a l a r g e h a n d k e r c h i e f b e f o r e p l a c i n g it in the h a n d s of the s p e c t a t o r to s h a k e ( u n d e r impression he is m i x i n g c a r d s ) or else to force p a r t y to hold hat a b o v e his head ( e x p l a i n i n g that y o u desire this so that the audience will he able to v i e w it b e t t e r ) ; and this for the purpose of p r e v e n t i n g him from d i s c o v e r i n g that the c a r d s do not c h a n g e their order. In r e m o v i n g the c a r d s f r o m the hat,

do not take them all out at one time, but in separate "handfuls,

:r

as if t h e y w e r e g r e a t l y s w i r l e d a b o u t by the s h a k i n g t h e y had received. F o r the p r e - a r r a n g e d pack, I k n o w of n o t h i n g b e t t e r in the w a y of a false shuffle, but the obtained b y first e m p l o y i n g a " T o p and B o t t o m " false shuffle and c o n w i t h the A u t o - O p e r a t i v e Shuffle.

best effect is

cluding

HANDKERCHIEF CREATION. (Parlor Trick.) T h i s e f f e c t will he found u s e f u l in m a n y w a y s w h e r e a h a n d k e r c h i e f is required in an o p e n i n g trick. T w o m e t h o d s are o f f e r e d : — o n e e m p l o y i n g a t h i m b l e is a v a i l a b l e at a n y t i m e ; and, the o t h e r bv its nature is o n l y practical as an openi n g trick. E f f e c t : A f t e r d r a w i n g hack his s l e e v e s , p e r f o r m e r proceeds to p r o v e both hands e m p t y b y e x h i b i t i n g both p a l m s at o n c e , lingers w i d e a p a r t , and the b a c k s of the h a n d s in t h e same manner. T h e p e c u l i a r i t y of this p r o d u c t i o n is that it docs not req u i r e e v e n a thread to aid it and y e t is n o t d e p e n d e n t o n p a l m i n g . M a g i c i a n s will recall m e n t i o n of the trick in issues of Thi' Splriiix', M a r c h . 1908, and later. P r e p a r a t i o n : W i n d a silk h a n d k e r c h i e f t i g h t l y around the of the t h u m b and t u c k A n o t h e r plan w h e r e the p r o d u c t i o n of the silk is not w a n t e d as an o p e n i n g trick, it m a y be b o u n d a r o u n d a l a r g e - s i z e d t h i m b l e flattened to fit the t h u m b , and flesh colored.

tip

the loose end under one of the binds.

O p e r a t i o n : C o m e f o r w a r d w i t h silk on t h u m b , c o v e r e d b y fingers. D r a w back s l e e v e s as in N o . 1 7 , so t h u m b is n a t u r a l l y c o v e r e d (the sleeve is d r a w n b y u s i n g o n l y the fingers so as not to d i s t u r b silk on t h u m b ) a r r o w i n d i c a t i n g position of silk. B r i n g h a n d s t o g e t h e r as in N o . 1 8 , ( N o . 1 9 s h o w s h o w t h u m b ball of left hand is slipped o u t s i d e crotch of r i g h t t h u m b , so silk lies b e h i n d left h a n d ) and turn f a c i n g a u d i e n c e , as in N o . 2 0 , t u r n i n g p a l m s o u t w a r d , w h i c h e x h i b i t s the palms. N o w turn h a n d s d o w n w a r d b r i n g i n g t h u m b w i t h silk q u i c k l y inside l e f t p a l m and e x h i b i t ( a s i n N o . 2 1 ) b a c k of hands.

No. 17.

Xo. 18.

first the right hand

No. 19.

cover

T h e m a n n e r of t u r n i n g to the c h a n g e of t h u m b f r o m back to inside of hand is illustrated in but this action should be that it is i n d i s t i n g u i s h a b l e .

No. 22, tion illustrated in No. 21,

so quickly followed by posi-

T u r n h a n d s b a c k to position N o . 2 0 , and b r i n g the fingers a r o u n d so t h e y meet in f r o n t — s l i p t h u m b b e t w e e n p a l m s and d r a w out silk. P r a c t i c e the m o v e m e n t s b e f o r e a mirror and note the rem a r k a b l e illusion t h e y create w h e n e x e c u t e d w i t h speed. T h e t h i m b l e idea w i l l enable the p e r f o r m e r to slip s a m e on his t h u m b at a n y m o m e n t if it is not desired to a r r a n g e silk on t h u m b b e f o r e h a n d .

moderate

No. 20.

No. 21.

No. 22. 16

M a n y liave been the a t t e m p t s to d e v i s e an i m p r o v e d m e t h o d of c h a n g i n g the face card of the p a c k , b u t invariably the s t a g e p e r f o r m e r finds s u c h m e t h o d s to be but impractical " n o v e l t i e s ' ' and is forced to fall back on the older, but m o r e reliable s l e i g h t s . 1 h a v e tried e v e r y t h i n g of the sort that has c o m e to m y notice, and m y v a r i e d m a g i c a l interests keep me in touch w i t h m o s t e v e r y t h i n g n e w or s u p p o s e d l y n e w in the m a g i c a l field. I h a v e even w o r k e d l o n g on m y o w n initiative to d e v i s e s u p e r i o r m e t h o d s to teach m y p u p i l s — f o r pupils e x p e c t an i n s t r u c t o r to be e q u a l l y proficient in e v e r y one of the f o u r hundred s l e i g h t s k n o w n to m a g i c and to h a v e at his finger tips a n e w w r i n k l e or s u g g e s t i o n for e v e r y one of t h e m . I here describe and explain for the first time m y original c o l o r c h a n g e , w h i c h is the last and b e s t of the three m e t h o d s w h i c h r a p i d l y f o l l o w each other in m y s u p p o s e d e x p l a n a t i o n of the trick, in m y o w n public w o r k . M a g i c i a n s w h o h a v e w i t nessed the e x e c u t i o n of the t r i c k — o f w h i c h I m a k e quite a l e n g t h y f e a t u r e — n e e d 110 f u r t h e r a c q u a i n t a n c e w i t h its r e m a r k able e f f e c t i v e n e s s , or the g e n e r o u s a p p r o v a l it s e c u r e s from the a u d i e n c e .

Effect:

A f t e r executing several color changes (preferably b y a d i f f e r e n t m e t h o d each t i m e ) t h e p e r f o r m e r o f f e r s to explain the process. the perf o r m e r d r a w s the second finger of the r i g h t hand o v e r the face card ( a s i n N o . 2 3 ) s e v e r a l times, e x p l a i n i n g t h a t this " s o f t e n s the p i p s " ; then the right w h i l e the perf o r m e r directs a t t e n t i o n to the " s o f t a p p e a r a n c e " of the pips. T h e r i g h t hand w i t h the now passes down o v e r p a c k , and the f a c e card is seen to h a v e c h a n g e d color.

Spreading his fingers wide apart, hand is drawn back,

fingers spread apart,

No. 25. (Mirror showing 1 ack ami tri.nt). K right fingers T—right thumb. fingers. I.. F.—left forefinger. ;

.No. 23.

N o . 24.

No.

26.

Operation:

W h e n the r i g h t hand c o v e r s the p a c k as in illustration w i t h t h u m b a g a i n s t b a c k card and fingers l y i n g a c r o s s f r o n t of pack—the The secures a p u r c h a s e on this p r o j e c t i o n and T h e n the is placed a g a i n s t it and the right h a n d c o m e s a w a y w i t h the card curled up in the p a l m held b y the thumb ( a s i n N o . 2 6 ) . T h i s , of course, a l l o w s the fingers to be spread w i d e l y apart, and the hand to p r e v e n t a sharp o b s e r v e r f r o m n o t i c i n g the a b s e n c e of the t h u m b w h i l e at the s a m e time the f a c t that the A s the r i g h t is a g a i n b r o u g h t t o w a r d pack, the and the the card w h i c h n o w c o m e s into the r e g u l a r palm position, and it is deposited on the face of the pack. T h i s c h a n g e w h i c h is t h e o n l y one operated w i t h fingers w i d e apart, I h a v e found

about one-quarter inch. right thumb

thumb pushes the back card forward left forefinger bends the card backward (see No. 24). is waved about somewhat

fingers are wide apart.

brought together

bringing to attention

thumb releases

perfect illusion of any known method.

fingers are

creates the most

T H E W O N D E R PASS. T h e principle i n v o l v e d in the f o l l o w i n g series of m a n i p u lations is one w h i c h I v a l u e v e r y h i g h l y , for it has enabled m e to produce more unique and s e e m i n g l y impossible e f f e c t s w i t h a b o r r o w e d pack of c a r d s than a n y t h i n g else of this n a t u r e I h a v e e v e r seen. N o w , I hope m y reader w i l l not e x p e c t a n y t h i n g startling, n e w or c o m p l i c a t e d , for he will be d i s a p p o i n t e d . Hut, w h a t is better y e t , it is and as for its n o v e l t y , it is sufficient to s a y that it is n o v e l in the adoption,

deceptive

wonderfully simple, practical and

sufficiently so to have puzzled a number of very good magicians.

C o n s i d e r the f o l l o w i n g e f f e c t f r o m the s t a n d p o i n t of the s p e c t a t o r , and j u d g e w h e t h e r it w o u l d p u z z l e y o u . R e a d the e f f e c t b e f o r e r e a d i n g the e x p l a n a t i o n .

Effect:

P e r f o r m e r calls for a p a c k of cards, w h i c h he first has sluifilcd b y the spectators. H e also calls for an elastic band, or supplies one himself. S e v e r a l c a r d s are selected from t h e pack, the p e r f o r m e r d i v i d e s the p a c k in t w o as usual, and has t h e . s e l e c t e d c a r d s placed on the l o w e r half, l i e then slips the elastic band o v e r this l o w e r half, in order to p r e v e n t the c a r d s b e i n g slipped or t r a n s f e r r e d to the b o t t o m of the pack. T h e n t h e s p e c t a t o r s t h e m s e l v e s place the upper portion on the l o w e r , t h u s b r i n g i n g the selected c a r d s f a i r l y in the center and l o s i n g their location.

The fact that the elastic band tightly encircles the pack absolutely prevents the execution of the pass or any similar sleight. In fact, it is a s l o w and difficult o p e r a t i o n to e x t r a c t a card f r o m the p a c k , and it is impossible to alter the position of a n y card w i t h o u t r e m o v i n g the elastic band.

F r o m this point ou a n y n u m b e r of t r i c k s can be p e r f o r m e d , such as the f o l l o w i n g : N o . 1. T h e p e r f o r m e r i n q u i r e s at w h a t n u m b e r one of the s p e c t a t o r s w o u l d like his card to a p p e a r , s a y 15 is n a m e d . The p e r f o r m e r s l o w l y d r a w s off c a r d s one a t a time, a s i n N o . 2 7 , ( w h i c h is a s l o w o p e r a t i o n , as the elastic b a n d r e t a r d s i t ) , until f o u r t e e n c a r d s h a v e been taken off, w h i c h l e a v e s the fifteenth T h e f o u r t e e n c a r d s are s h o w n and the selected card is seen to be a b s e n t — t h e n the s p e c t a t o r d r a w s fifteenth himself and finds it to be the selected.

card on the pack.

off the

card

one which he

N o . 2. 1 r e c o m m e n d p r e s e n t i n g this e f f e c t first and then following" w i t h N o . 1. T h e c a r d s a f t e r b e i n g selected and ret u r n e d to the p a c k as described in the f o r e g o i n g are dropped i n t o the t r o u s e r p o c k e t . T h e p e r f o r m e r s t a t e s t h a t he w i l l p r o d u c e a n y one of c a r d s desired. O n e of the s p e c t a t o r s calls f o r a card, w h e r e u p o n he p l u n g e s his hand i n t o his p o c k e t and p r o d u c e s that card. T h e s a m e c o u r s e is f o l l o w e d w i t h the second. T h e n he t a k e s the pack f r o m his p o c k e t and o f f e r s to c a u s e the r e m a i n i n g selected c a r d s to a p p e a r and is n o w presented.

from the top

Effect No. 1

at any number

Manipulation. F i r s t place the elastic band to the left of so that you will have to turn in that direction to secure it. H a v e the cards selected and a s k each s p e c t a t o r to note his card and also to show it to others. H o l d the pack in y o u r left hand, w h i c h hangs at your side and as y o u turn to the t a b l e

No. 27.

No. 28.

No. 29.

g e t the elastic band, c a u s e a b o u t half the c a r d s to turn o v e r and f a c e the others, b y p r e s s i n g w i t h the and u p w i t h the tingers as in illustration N o . 2 8 , a s s i s t i n g the motion w h i c h alone w i l l c a u s e the p a c k e t to t u r n o v e r . H a n d the elastic band, w h i c h y o u h a v e n o w s e c u r e d , to a s p e c t a t o r , and, t u r n i n g y o u r a t t e n t i o n to the p a c k , H a v e the c h o o s e r s p l a c e their cards on the l o w e r portion, then h a v e the elastic b a n d placed o v e r the cards, in order to free y o u r hand so that y o u can assist the s p e c t a t o r in the o p e r a t i o n . S t o p at this point and e x p l a i n , " I p l a c e the t i g h t elastic b a n d a r o u n d the c a r d s to p r e v e n t a n y suspicion that b y s o m e q u i c k m o v e m e n t — l i k e this, ( h o l d i n g the cards in both h a n d s , m a k e an up and d o w n flourish and or o t h e r w i s e , I m i g h t be able, a f t e r p l a c i n g the c a r d s t o g e t h e r , to palm off the c a r d s or s h i f t them about. N o w , w h i l e I lift the elastic band, will y o u slide the rest of the c a r d s on t o p ? ( S p e c t a t o r d o e s so a s i n No. 2). N o w y o u r selected c a r d s are in the center and I cannot shift them or t a k e one o u t w i t h o u t a lot of s n a p p i n g of the band and hard pulling. ( L e t s o m e one try to d r a w a card off the t o p ) . C a n I ? "

downwards

thumb

by allowing this portion to touch your coat (No. 28 again) and drawing the hand upward, lift off about one-third of the cards.

portion on the table

deposit the one-third upper

secretly turn pack over),

T h e c a r d s are n o w a t the b o t t o m and y o u can place p a c k m y o u r p o c k e t , and p r o d u c e the c a r d s selected, a s in E f f e c t N o . 2 . T h e n t a k i n g t h e m o u t w i t h the selected card at the b o t t o m , ask at w h a t n u m b e r the r e m a i n i n g card is desired to appear. W h e n the n u m b e r is g i v e n , s t a r t d r a w i n g off the cards as in N o . 3 0 , until one less than the n u m b e r is reached S h o w that the card is not a m o n g t h e m , and s a y , " J u s t f o u r t e e n cards, c o u n t

right hand as in No. 31,

fanning them out with

No. 31. Turning packet.

No. 32. Another method. Turning behind sleeve while reaching for band.

them yourselves, the card is not among them." (Under cover of fanned out cards, reverse pack in left hand—No. 31 shows packet turning). Toss fan aside and point to top card of pack, "Here draw the card off yourself to see that I do not exchange it." Tl;e effect is surprising to the initiated, for there is not a fairer or more impossible feat in the whole category of magic, than to cause a selected card to appear at any number when the pack is bound by an elastic band which absolutely prevents the manipulation of the cards.

THE

IMPROMPTU

MAGICIAN.

I have given this trick the above title because the entire trick is performed by one of the spectators, who succeeds in completely mystifying himself as well as the other parties to the trick. I use it as a concluding effect after performing several impromptu card tricks and find it very effective for press demonstrations or similar occasions. Knowing the mental acuteriess of the average reporter, and the fact that they all seem to know something of magic themselves, I feel 1 am paying the trick a high compliment in saying that it has never failed to completely mystify on every occasion of the sort; and has frequently puzzled magicians as well.

I g e n e r a l l y b e g i n b y s t a t i n g , that b y w a y of c o n c l u s i o n I will t r a n s f e r m y m a g i c p o w e r to a certain s p e c t a t o r for this trick. S h u f f l i n g the p a c k t w i c e , I ask him to insert his finger in the pack as in N o . 1 , at a n y point, w h i l e I am r u n n i n g the c a r d s in a sort of riffle. H e does so, and I separate the p a c k at this point, h a n d i n g him the c a r d s and r e q u e s t i n g him to c o u n t the cards out on the table one at a time. I c o u n t m y portion out o n t o the table, k e e p i n g time w i t h h i m — f o r a reason w h i c h will a p p e a r later. I then h a v e him s q u a r e the cards up on his l e f t hand and r e q u e s t him to t a k e one card and slip it into the c e n t e r of the p a c k . next request him to take one card f r o m the b o t t o m and slip it into the c e n t e r and a n o t h e r taken from the top and slipped into the center, then one m o r e f r o m the b o t t o m , w h i c h I h a v e placed in the c e n t e r also.

from the top

I

A n o t h e r card is n o w t a k e n and handed to the person at his right and a n o t h e r from the top is h a n d e d to the p a r t y on his left, both of w h o m are r e q u e s t e d to place the card in their p o c k c t a f t e r l o o k i n g at it. T h e p e r f o r m e r n o w c o l l e c t s the r e m a i n i n g cards and calls a t t e n t i o n to the fact t h a t up to the present, he has not touched the cards and that the

entire operation has been performed by one of the spectators. One of

the p e r f o r m e r s h o l d i n g a card is r e q u e s t e d to t h i n k of t h e n a m e of his card. T o u c h i n g him on the f o r e h e a d the perf o r m e r reads his mind ( ? ) and a n n o u n c e s the n a m e of the card c o r r e c t l y . T h e s a m e is r e p e a t e d w i t h the o t h e r c a r d . T h e r e is g e n e r a l l y a h e a v y a t m o s p h e r e of t h o u g h t a f t e r t h i s experiment

the cards.

and the most puzzled man is the one who handled

Operation:

In g a t h e r i n g up the c a r d s f r o m s o m e p r e v i o u s trick, g l a n c e at and E x e c u t e the dove-tail shuffle, b u t do so in such a m a n n e r t h a t ( R e f e r to illustration and let represent portion of the p a c k w i t h the N o w release the f r o m the l e t t i n g them fall first. T h e n p e r m i t the cards f r o m the o t h e r p a c k e t to T h e n run the rest of the c a r d s in d i f f e r e n t l y . R u f f l e the c a r d s a s described, h a v i n g person insert finger in p a c k at a n y p o i n t ( a s and cut the p a c k at t h a t point, s a y i n g , " A l l r i g h t , t a k e t h o s e cards and c o u n t t h e m out o n t o the table (or m y h a n d ) one at a t i m e . " He does so and the p e r f o r m e r c o u n t s the r e m a i n i n g c a r d s k e e p i n g time w i t h him, w h i c h p u z z l e s him and c a u s e s him to w a t c h

squaring up the pack.

cards.

bottom"). packet,

in No. 1) lower portion,

memorize the two bottom cards, while two cards fall below the memorized No. 4, right hand two memorized cards at the two cards left hand two memorized fall on top of these. handing himi the

the p e r f o r m e r , so if he is one w h o is familiar w i t h m a g i c he will not notice that he is r e v e r s i n g the c a r d s in c o u n t i n g t h e m . l l a v e the c a r d s placed squared up on palm and h a v e one card f r o m the top placed in the c e n t e r , etc., as described. T h e n tell him to take card f r o m the top (and as he has been d o i n g ) , and h a v e him hand it to the person on his r i g h t and to the p a r t y a t ' h i s left. Y o u . of course, k n o w w h i c h cards t h e y hold and a n y desired c o n c l u s i o n m a y be b r o u g h t about. The m a n i p u l a t i o n s are so c l e v e r l y a r r a n g e d and d i s g u i s e d and the a t t e n t i o n of the person h o l d i n g the c a r d s is distracted in such a m a n n e r that e v e n the best posted m a g i c i a n s h a v e " f a l l e n , ' ' and fallen hard on this p a r t i c u l a r card t r i c k — a fact of w h i c h I h a v e a b u n d a n t local proof.

"another" naturally takes the top card

he

"another"

T H E INDECEPTIVE DECEPTION. T h i s is one of t h o s e tricks w h i c h g a i n their effect by m e a n s of the p e r f o r m e r o u t w i t t i n g the s p e c t a t o r s w h i l e a p p a r e n t l y d e m o n s t r a t i n g that no d e c e p t i o n is e m p l o y e d .

Explanation:

A trick w e l l - k n o w n to the public is that in w h i c h the p e r f o r m e r h a s a selected card returned to the packby c u t t i n g the p a c k , and w h i l e d o i n g so t a k e s o p p o r t u n i t y to m e m o r i z e the of the which, when the u p p e r portion is returned, c a u s e s the m e m o r i z e d card to fall n e x t to or a b o v e the selected card, t h e r e b y e n a b l i n g the p e r f o r m e r t o locate the selected card on l o o k i n g t h r o u g h the p a c k later.

bottom card

Effect.

upper portion,

A selected c a r d is r e t u r n e d to the p a c k in the m a n n e r described a b o v e , e x c e p t that just as the p e r f o r m e r is a b o u t to p l a c e the tipper portion a b o v e the card he i n t e r r u p t s himself and r e m a r k s that he has j u s t r e m e m b e r e d that there is a m e t h o d of l o c a t i n g a card by m e m o r i z i n g the one a b o v e it. H e d e s c r i b e s the trick and i l l u s t r a t e s h o w the card w o u l d c o m e a b o v e the selected one b y b r i n g i n g the u p p e r p a c k e t d o w n at r i g h t a n g l e s on the l o w e r as in N o . 3 3 , but in order to p r o v e that lie d o e s not resort to such t r i c k e r y he c h a n g e s his c o u r s e and w i t h his t h u m b p u s h e s the selected card off the to]) of the l o w e r portion and into the c e n t e r of the u p p e r p a c k e t a s s h o w n in N o . 3 4 . E v e r y t h i n g is a p p a r e n t l y fair, e s p e c i a l l y if the p e r f o r m e r g i v e s the p a c k a dove-tail shuffle and even s u b m i t s the p a c k e t to the a u d i e n c e for the same p u r p o s e . T h e card is in the p e r f o r m e r ' s possession at once.

Operation: A t the point illustrated in No. 33, the left fingers p a s s u p w a r d and press slightly against the top card of the upper portion. A s the h a n d s s w i n g t o w a r d the r i g h t side and the l e f t hand points to the card, w h i c h the performer explains is m e m -

left fingers draw off the card from the top of the upper packet onorized—the

to the lower. T h i s is done j u s t as the h a n d s are turned o v e r as s h o w n in N o . 3 3 , w h i c h should be accompanied by a s w i n g to the right. T h i s c o v e r s the slip, w h i c h in this trick m u s t be e x e c u t e d far m o r e n o i s e l e s s l y than usual, as the s p e c t a t o r s ' a t t e n t i o n is c e n t e r e d on the cards. D o not p r e s s t o o hard on the slipped card, w h i c h will c a u s e it to s n a p d o w n — b u t d r a w i n g it off l i g h t l y , let it c o m e as the t u r n i n g m o v e m e n t is d e s i g n e d to c o v e r the operation c o m p l e t e l y .

packet

slowly against the

R e f e r r i n g to N o . 35, " B " r e p r e s e n t s the slipped card, w h i c h is, of course, the one turned into the p a c k e t . T h e c a r d s are then dove-tailed shuffled and " A " , the selected card, is a l l o w e d to fall on top. If preferred, pause at this point ( a s s h o w n in N o . 35) w h e r e " B " is half w a y in the p a c k e t , e x t e n d i n g t h a t portion t o a s p e c t a t o r , and r e m a r k , " H e r e , p u s h the card in w i t h y o u r o w n h a n d , " and a f t e r d o i n g so, " W h i l e y o u h a v e the c a r d s y o u m i g h t as w e l l shuffle t h e m . " W h e n the p o r t i o n is returned, place y o u r half on t o p and e x e c u t e the top and b o t t o m false shuffle, or cut and dove-tail shuffle t h e m , perm i t t i n g the selected card to fall on top at the end.

B U R L I N G H U L L " I N V I S I B L E PASS." It is a m u s i n g to note the n u m b e r of so-called " i n v i s i b l e " passes described in the current b o o k s and periodicals. Many c o m b i n a t i o n s of slips and c u t s are o f f e r e d , s o m e of w h i c h are clever, b u t all lack the v e r y cpiality for w h i c h t h e y are a d v o cated. In all there is a p p a r e n t a m o v e m e n t of the hands. If one w e r e to k e e p an o b j e c t in s u c h rapid m o t i o n that a p e r s o n could not d i s t i n g u i s h w h a t the o b j e c t w a s , it w o u l d not m a k e it invisible, but m e r e l y i n d i s t i n g u i s h a b l e . In the f o l l o w i n g , not even to the initiated is the m o v e m e n t visible.

No.

A.

Effect:

A f t e r c a r d s are returned to p a c k , p e r f o r m e r m e r e l y pulls back sleev es and proceeds with the " e x p e r i m e n t . "

Working:

K e e p the h a l v e s of the p a c k divided by the little linger in the usual m a n n e r , but b e n d the index finger under the pack as in p h o t o ( A ) . W h i l e e x p l a i n i n g the trick to f o l l o w , or r e q u e s t i n g the loan of a n y article, y o u m a y require, d r a w back the sleeve of the hand h o l d i n g the p a c k ( p h o t o A ) . T h e n d r a w back sleeve of the o t h e r arm as in p h o t o ( B ) , but as hand g o e s behind sleeve as in p h o t o , l e v e r the top portion of pack up a g a i n s t the sleeve b y s t r a i g h t e n i n g the little finger and w i t h the i n d e x finger p u s h e d g e of the l o w e r portion up so it p a s s e s o v e r the e d g e of o t h e r portion and let that p o r t i o n fall back into the hand and the f o r m e r l o w e r portion is 011 top. T h e s l e e v e s should be d r a w n b a c k in a leisurely m a n n e r , g i v i n g time to m a k e the p a s s easily. D r a w i n g the first sleeve b a c k s l o w l y e x c u s e s the c o u p l e of e x t r a s e c o n d s on the second sleeve. T h e c o m p l e t e m o v e b e i n g m a d e under c o v e r of t h e d r a w i n g b a c k of sleeve is a b s o l u t e l y invisible. W i t h practice, it can be m a d e like l i g h t n i n g , b u t it is u n n e c e s s a r y , as it can be o p e r a t e d s l o w l y , until the reader is proficient, w i t h as m u c h success.

(photo 3),

Effect:

A U N I Q U E T H I M B L E "MOVE."

T h e t h i m b l e is placed on the tip of the second finger of the r i g h t hand. T h i s is s l o w l y inserted in the left hand as in p h o t o ( D ) , and as s l o w l y w i t h d r a w n , but w i t h o u t the t h i m b l e as in p h o t o ( E ) . A f t e r the usual interval, the l e f t hand is s l o w l y opened and the t h i m b l e has v a n i s h e d .

No. 1).

No. F..

No. F.

Working: T h e b e a u t y of this v a n i s h lies in its lack of s u s p i c i o u s m o v e m e n t s and the s l o w n e s s w i t h w h i c h it is e x e c u t e d . T h e t h i m b l e f a i r l y enters left h a n d and the finger fairly c o m e s out e m p t y as illustrated in p h o t o s ( D and E ) , but b y l o o k i n g at p h o t o ( F ) , the secret lies e x p o s e d . T h e second linger b e n d s around the t h u m b and the lirst and third lingers g r i p the t h i m b l e on each sid?. T h e second finger is s t r a i g h t ened and w i t h d r a w n from hand. T h e t h i m b l e m a y be imm e d i a t e l y t h u m b - p a l m e d , c e n t e r - p a l m e d ; the hand m a y be s t r a i g h t e n e d so t h i m b l e lies finger-palmed under second finger, or it m a y be b a c k - p a l m e d and the inside of hand s h o w n . The m o v e s should be operated w i t h c o n s i d e r a b l e s l o w n e s s to b r i n g out the full effect. BURLING HULL THIMBLE PRODUCTION. I Reprinted from Deviltry, copyright 19091 Effect: T h e p e r f o r m e r calls a t t e n t i o n to the right

hand. M o l d i n g it e x t e n d e d f r o m the b o d y he e x h i b i t s first the back of the hand, fingers w i d e apart, then t u r n i n g the palm t o w a r d the audience, the inside of hand. W hile h o l d i n g the hand, palm t o w a r d audience, s t a t i o n a r y , a t h i m b l e s u d d e n l y a p p e a r s on the tip of the second finger. T h e back of the hand is first s h o w n . T h e n the 4'i'st joint of the second finger is p r e s s c J a g a i n s t the m o u t h of t h i m b l e to s t e a d y it w h i l e the first and third fingers g r i p it on sides. T h e first and second m o v e m e n t s are i l l u s t r a t e d by the upper and l o w e r hands in p h o t o ( G ) . T h e fingers are n o w straightened and inside of hand s h o w n ( p h o t o H ) — u p p e r hand as s h o w n — l o w e r s h o w s position of thimble at b a c k of hand. P h o t o I s h o w s upper hand as t h i m b l e is p r o d u c e d and l o w e r hand as second finger is d r a w n b a c k and shot into m o u t h of thimble. W i t h the introduction of the a b o v e m a n i p u l a t i o n a n e w era is opened to the t h i m b l e w o r k e r as t h i m b l e s m a y be passed from hand to hand w i t h p a l m s t o w a r d audience, passed t h r o u g h knees, etc., colors c h a n g e d , m u l t i p l i e d , etc., all k i n d s of p a s s e s b e i n g possible w i t h b o t h hands, p a l m s t o w a r d

audience.

AkHACP H 8 1 B U

No. G. Upper hand shows first movement. Lower shows second.

No. H. Upper hand shows front view. Lower shows position of thimble.

No. L Upper shows production. Lower shows finger entering thimble.