Jean Hugard - Thimble Magic

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W I L L ALMA

M.I.M.C. (LONDON)

THIMBLE MAGIC By JEAN HUGARD

FOURTH PRINTING

Published

by

LOUIS TANNEN 120 West 42nd Street New York 18, IN. Y.

THIMBLE MAGIC By JEAN HUGARD

CONTENTS C h a p t e r I.

C h a p t e r II.

THE THIMBLES

Page

3

Technical Terms, Illus The Basic Sleight, T h u m b - P a l m No. 1 Finger P r a c t i c e Easy Moves W i t h One T h i m b l e — N o . 1, 2, 3, 4 Moves W i t h T w o T h i m b l e s — N o . 1, 2, 3, 4, 5, The Multiplying T h i m b l e

Page Page Page Page Page Page

3 4 5 G 6 7

Pago Page Page .. .Page Page Page Page Page Page Page

9 11 13 13 13 15 16 20 20 21

ADVANCED SLEIGHTS T h u m b - P a l m No. 2, 3, 4, 5. V a r i a t i o n Hook V a n i s h No. 1, 2 Second F i n g e r - P a l m Fadeaway Palm Back-Palm No. 1, 2, 3 Finger-Clip No. 1, 2 A c q u i t m e n t s — N o . 1, 2, 3, 4, 5, 6, 7, 8, Vest A c q u i t m e n t s — N o . 1, 2 Advanced Finger P r a c t i c e Finger P r a c t i c e Effect

C h a p t e r III.

T h e Fist T h i m b l e — N o . 1, 2, 3, 4, 5

P a g e 22

Various Moves for Building R o u t i n e — N o . 1 t o No. 12.. Page 23 C h a p t e r IV.

Flourishes—No. 1. 2, 3, 4

Page 28

Chapter V.

Thimble T h r o u g h Silk—No. 1, 2, 3, 4

Page 29

C h a p t e r VI.

Color Changes—No. 1 to No. 8

Page 31

C h a p t e r VII.

Various R o u t i n e s

Page 34

C h a p t e r VIII.

A la Miser's D r e a m . Special Thimbles

Page 39

Chapter IX.

P r o d u c t i o n a n d V a n i s h of F o u r Thimbles S i m u l t a neously—Moves, R o u t i n e a n d Finish

Page 42

T h e State Library of Victoria "ALMA CONJURING COLLECTION"

THIMBLE MAGIC THAUMATURGY CHAPTER I T h e r e is little doubt t h a t the original trick f r o m which almost i n n u m e r a b l e m a n i p u l a t i o n s with thimbles have sprung, was the invention of David Devant, the brilliant English c o n j u r e r . F r o m one simple move there has been built u p a new b r a n c h of sleight of h a n d , embodying feats of skill that are well w o r t h the attention of all students of the art of magic. This is not only in regard to the astonishing m a n i p u lations t h a t are possible with the thimbles b u t also to the fact t h a t pratice with them is a great aid to the development of that dexterity of the fingers which is indispcnsiblc to sleight of h a n d performers. T h e r e are several types of thimbles in common use—wood, metal a n d celluloid—and also a spccial kind covered with brilliants, m a d e specially for thimble' manipulations. No ride can be laid down as to the best kind to use, that must be left to the taste of the invidual. It m a y be said, however, t h a t a thimble of light weight a n d bright rod in color, is the best for the student to begin his pratice with. T h e "brilliant" thimbles should not be used in the early stages. T h e thimbles should be of such size as to fit the finger tips easily b u t securely. Some performers prefer to have them graded in size for each finger, but this is unnecessary and apt to lead to a lack of ease in executing the m a n i p u lations. It is best to choose a thimble that fits the tip of the forefinger and have all the others the same size. In order to give and precise explanation of the various m a n e u v e r s with thimbles, it is necessary to resort to

TECHNICAL TERMS A through u n d e r s t a n d i n g of the following definitions will enable the reader to u n d e r s t a n d the process described. T H U M B - P A L M . T o place a thimble in the crotch of the t h u m b f r o m the tip of any one of the first three fingers and retain it there. F I N G E R - P A L M . T o place a thimble in the roots of the last three fingers and hold it there by curling these fingers round it. S E C O N D F I N G E R - P A L M . T o retain the thimble on tK> tip of the second finger a n d hold the finger bent in against the palm. B A C K - P A L M . T o hold a thimble at the back of the first joint of the second finger by pressing the top joints of the first and third fingers against its riin. the m o u t h of the thimble resting against the linger just below the nail. T h e same term is applied to holding a thimble in a similar position at the back of the third finger.

P A L M . T o hold a thimble in the p a l m of the h a n d , as is done with a coin or any other small object. F I N G E R - C L I P . T o hold a thimble with one side of its rim d i p p e d between two fingers, either at the f r o n t or the back of the h a n d . Finger clip illustrations is wrong. T h e rim of the thimble should be d i p p e d r a t h e r than the thimble itself. See Page 15. Illus. 4. S T E A L . T o insert the tip of a finger or t h u m b into a palmed thimble and carry it a w a y sccretly. H O L D E R . A piece of metal with a phlangc against which the tops of the thimbles rest, and with a broad piecc of clastic stretched a r o u n d it to hold the thimbles in place. These can be obtained f r o m any magic dealer. A C Q U I T M E N T . T h e action of a p p a r e n t l y showing both e m p t y a f t e r having vanished a thimble.

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T H E BASIC S L E I G H T — T H U M B - P A L M

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P l a t e a thimble on the right forefinger tip and bend the forefinger into the fork of the t h u m b which doses on the thimble and retains it. and then rapidly extend the forefinger. I n bending the forefinger let the end of the thimble touch the u p p e r side of the t h u m b , then raise the t h u m b and press it against the side of the h a n d , which will automatically remove the thimble, leaving it in the crotch as the fincgr i> straightened. Keep the t h u m b straight, do not bend its first joint and avoid any strained a p p e a r a n d ' at the back of the crotch. Sec the following illustrations:

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Ii FINGER PRACTICE T h e t h u m b - p a l m must be excutcd with equal facility with the first, second a n d third fingers of each h a n d . A little time devoted to the following exercises will soon enable the s t u d e n t to t h u m b - p a l m a n d recover the thimble with ease a n d rapidity. 1. T h u m b - p a l m the thimble f r o m tip of forefinger a n d recover it on tip of second finger. 2. T h u m b - p a l m the thimble f r o m tip of second finger a n d recover it on tip of third finger. 3. Bend third finger into p a l m a n d p a l m thimble, rccovcr it on tip of f o u r t h finger. 4. G r i p thimble between the tips of second finger a n d t h u m b , roll it u p w a r d s a n d insert the t i p of t h e forefinger, bringing the thimble back to its original position. W h e n the thimble is displayed on the forefinger of cither h a n d t h e finger must be extended a n d the o t h e r three bent into the palm.

TO VANISH A THIMBLE T o apply this basic sleight to the vanishing of a thimble, show the thimble on the tip of the right forefinger a n d m a k e the motion of placing it in the left h a n d , which a p p a r e n t l y closes a r o u n d the thimble a n d moves a w a y as if it held the thimble. In reality as you move your right h a n d over to the left t u r n it bringing its back to the f r o n t , t h u m b - p a l m the thimble, (the larger m o v e m e n t of the h a n d and a r m covering the smaller m o v e m e n t of the finger) a n d bring the bare finger against the p a l m of the left h a n d . I n s t a n t l y close the left fingers ever the right forefinger a n d w i t h d r a w the left h a n d . K e e p your eyes fixed on the left h a n d a n d raise it slowly to about shoulder height. T h e action should a p p e a r as if the left h a n d drew the thimble off the right forefinger and, to m a k e it completely illusory, the left h a n d only should move. T h e right remaining stationary for a few m o m e n t s , the forefinger pointing to the left h a n d , a n d then drops n a t u r a l l y — t o your side.

In order to master this sleight quickly, practice before a mirror, first really p u t t i n g the thimble in the left h a n d , and removing it. then execute the sleight copying the genuine movement exactly.

EASY MOVES WITH ONE THIMBLE 1. A p p a r e n t l y put the thimble in your left h a n d , really palming it in the right. Raise the left h a n d and p a t the top of your head, opening the fingers as you do so. Produce the thimble f r o m your m o u t h on the right forefinger. T o do this, insert the tip of the forefinger into the thimble as you raise the right h a n d and straighten it out just as the h a n d reaches the mouth. T h e rapid insertion of the thimble should be covered by the back of the hand. W i t h d r a w the thimble slowly and show it. 2. Reverse the moves by pretending to put the thimbles in the m o u t h , really t h u m b - p a l m i n g it rapidly as the h a n d moves upwards. W i t h d r a w the forefinger and show it bare. Push the tongue against the side of the check to m a k e it a p p e a r t h a t the thimble is really in the mouth, then pretend to swallow it. Put both h a n d s at the lower edge of the vest, insert the tip of the right forefinger into the thimble and push it u p u n d e r the vest. W i t h d r a w the finger slowly, displaying the thimble. 3. Pretend to p u t the thimble in your left h a n d , t h u m b - p a l m i n g it in right. Slap the left h a n d against your left e a r and recover the thimble f r o m your right car. T o do this insert the tip of the right forefinger into the thimble as the h a n d moves up to the ear. Straighten the finger, pushing the thimble into the ear and at once grip it by the rim wtih the tips of the forefinger and thumb. Pull it away with pretended difficulty. m a k i n g a grimace, if you can. as if having a tooth extracted. 4. Pass a thimble into the flame of a candle a n d d r a w it out on the finger tip, using the moves already explained. In making these passes avoid all rapid movements of the hands and arms. A smooth, easy and rather slow action must be cultivated. A thimble is a very small object and unless the onlookers can follow all you are supposed to be doing they will not take m u c h interest in your m a n i p u lations. A common fault to be avoided is t h a t of working with the h a n d s held close to the body and turned a w a y f r o m the audience with the head bent down. No doubt in such a pose some very wonderful moves m a y be made, but of what use are they if the spectators cannot sec them? S t a n d u p straight keep your h a n d s well out f r o m the body and m a k e sure that everyone can sec all you want them to see.

MOVES WITH TWO THIMBLE? A second thimble is required for the following moves. A good way to carry this duplicate thimble so that it m a y be easily secured is to have

it in a small loop of elastic sewn inside the coat an inch f r o m the edge on the left side. Insert the thimble in the loop m o u t h d o w n w a r d s . A f t e r having vanished a thimble f r o m the left h a n d t u r n t o w a r d s the left a n d catch the thimble on the right forefinger, at the same time d r o p the left h a n d to the side a n d bend the left forefinger u p into the duplicate thimble, d r a w it out of the loop and t h u m b - p a l m it. W i t h two thimbles some very p r e t t y moves can be m a d e . 1. Really place the thimble into the m o u t h f r o m the right forefinger a n d leave it there. Produce the duplicate thimble in the left h a n d f r o m the back of the head on the left forefinger. 2. Pretend to p u t the thimble into left h a n d , t h u m b - p a l m i n g it in the right. Slap the left h a n d against the side of the left knee a n d produce the thimble f r o m the right knee or right forefinger. 3. T a p the thimble on top of the head several times, finally t h u m b palming it a n d t a p once or twice with the bare finger. O p e n your m o u t h a n d let the o t h e r thimble d r o p out into your left h a n d . 4. T a k e this second thimble with the t h u m b a n d forefinger of the right h a n d , (holding the h a n d with its back to the f r o n t to avoid exposure of the t h u m b - p a l m e d thimble) a n d p u t it on the left forefinger. Hold th? h a n d s well out, about nine inches a p a r t , to the left of the body, back of the h a n d s to the f r o n t and the fingers pointing d o w n w a r d s . Move both hands, keeping t h e m the same distance a p a r t , over to the right side of the body, at the same time t h u m b - p a l m i n g the thimble on the left forefinger and producing the duplicate thimble on the right forefinger. T h e effect is t h a t of a thimble flying f r o m one h a n d to the other. 5. R e p e a t this move two or three times. T h e motion of the h a n d s f r o m side to side should completely cover the rapid movements of the forefingers in t h u m b - p a l m i n g the thimbles. Hold the h a n d s still for a few m o m e n t s a t the end of each swing a n d follow the supposed flight of the thimble with the eye.

THE MULTIPLYING THIMBLES T h i s brilliant finish to a series of thimble passes was invented by the late M r . Roterberg, of Chicago. T h e effect is that a f t e r various feats with a single thimble, the fingers of both h a n d s are suddenly extended a n d every finger is capped with a thimble. Eight thimbles are required. T h r e e are held in elastic loops sewn side by side u n d e r the edge of the coat on the left side. O n e is placed in th'> left vest pocket, m o u t h u p w a r d s a n o t h e r between the neck and the sh'rt collar on the right side, also m o u t h u p w a r d s , a n o t h e r is pushed in between two vest b u t t o n s : one is t h u m b - p a l m e d in the left h a n d , and the last thim-

is on the top of the right forefinger, the visible thimble is the only one the audience is aware of. A f t e r having passed the thimble f r o m the right forefinger to the left several times as in -No. "». show it on the left forefinger and drop the right hand to the side. Transit.r the t h u m b - p a l m e d thimble to the tip of th'third right linger, f r o m there to the palm, then bend the tip of the f o u r t h finger into it and keep the finger c losed 011 the right palm. These moves are hidden by the back of the h a n d . T u r n slightly to the left a n d openly transfer the visible thimble l r o m the left forefinger to the- right forefinger. Pretend to put it in the left h a n d , t h u m b - p a l m i n g it in the right. R u b the- left fingers on the palm as if crumbling the thimble away and open the lingers one by one, show ing the b a n d empty. T h r u s t the right forefinger into the left vest pocket and bring out the vested thimble 011 the finger tip. In the m e a n t i m e you have transferred the- t h u m b - p a l m e d thimble to the third finger, so that there are now two thimbles hidden in the right h a n d on the third and fourth fingers. Show the third thimble 011 right index finger. Vanish this one in the same way and recover it lrom the collar. realK the one previously hidden a n d transfer the t h u m b - p a l m e d thimble to the second finger. You now have three thimbles secretly held in your riglu h a n d on the second, third and f o u r t h fingers, which are kept bent inio the palm. T h e fourth one is visible on the forefinger. Again vanish this thimble, the 4th f r o m the left h a n d i.e.. t h u m b palm it on the right. Show the left h a n d empty a n d point to the vest opening with the right forefinger, insert the tip of the left forefinger into the opening between the vest buttons and produce the thimble. T a p the forefingers lightly 011 the thighs and at the third t a p the thimble flies across to the right forefinger, i. e. the left finger t h u m b - p a l m s its thimble and the right brings its thimble into view f r o m the t h u m b - p a l m e d position. Repeat this move, bringing the visible thimble to the left forefinger. U n d e r cover of a tossing movement of the left h a n d vanish this thimble by t h u m b - p a l m i n g it, and then drop the h a n d to a position close to the three thimbles in the clastic loops u n d e r the edge of the coat. T u r n to the left, strecth out the right a r m and suddenly extend the fingers, displaying a thimble on each finger. At the same m o m e n t , bend the last three fingers of the left h a n d into the loops u n d e r the coat and sec ure the three thimbles f r o m them. T u r n to the right and raise the left h a n d , forefinger pointing to the thimbles 011 the right fingers. A m o m e n t later quickly bend the forefinger into the t h u m b - p a l m e d thimble and instantly, with an u p w a r d movement

of the h a n d , extend the fingers. Again a thimble is seen to have materialized on each finger tip. Hold the position for a few m o m e n t s to accentuate the climax a n d bow, taking the applause that is sure to follow i| you have done your p a r t well. T h e moves must be m a d e smoothly and not too rapidly, a common f a u l t in thimble manipulation. Follow the h a n d , in which the thimble is supposed to be put, with your eyes a n d act as if you, were convinced t h a t it is there. C H A P T E R II.

ADVANCED SLEIGHTS 1.

T H U M B - P A L M No. II.

Stand with your right side to the audience and show a thimble on right forefinger. Place the thimble on the p a l m of the left h a n d so that the lull length of the finger lies on the h a n d , T h e tip of the thimble pointing to the left t h u m b . Fig. 1. Close the left fingers slowly and, the m o m e n t the right forefinger is hidden by them, rapidly t h u m b - p a i m the thimble in the right h a n d a n d again extend the forefinger, raising both h a n d s slightly. Fig. 2. D r a w the left h a n d a w a y as if it removed the thimble. At the same time insert the tip of right second finger into the p a l m e d thimble a n d raise the t h u m b f r o m the side of the right h a n d . Hold this h a n d stationary for a moment, forefinger pointing to the left fist a n d then drop it quietly to the side, again t h u m b - p a l m i n g the thimble. Vanish the thimble f r o m the left h a n d by pretending to crumble it away to nothing, or by tossing it in the air. T h e movement of the right forefinger to the t h u m b crotch must be m a d e with the u t m o s t rapidity. T h e slow closing of the left fingers and the u p w a r d movement of both h a n d s should cover the sleight completely.

THUMB-PALM No. III. With the right side to the front, show h a n d s with the palms to the audience; the left fingers pointing downwards, the right fingers upwards. T h e thimble is on the extended right forefinger against the left palm, keeping the right palm outwards. Close the left fingers slowly, one by one, on the right forefinger, beginning with the little finger, but not gripping tightly. T u r n the right wrist, bringing its back to the front, and bend the forefinger inwards with the thimble still on it; move the left h a n d away as if removing the thimble, raise it a n d follow it intently with your eyes. Hold the right h a n d stationary, bend the forefinger f u r t h e r in and t h u m b palm the thimble, quickly straighening it a n d point to the closed left hand. Figs. 3, 4. O p e n the left fingers, beginning with the first but keep the t h u m b on the little finger f o r a moment, then extend both smartly. T h e whole action should be p e r f o r m e d slowly. Some performers, however, prefer to swing the hands u p w a r d a little as the left fingers clos--' on the thimble and snap the forefinger down into the right h a n d carrying the thimble with it, quickly t h u m b - p a l m i n g it a n d again extending the finger. T h e " s n a p " w i t h d r a w a l of the thimble does not have to be done rapidly, the forefinger is simply bent into the palm, the motion and the position of the h a n d s concealing the thimble perfectly. T H U M B - P A L M No. I V With the hands in the same positions as in No. III., place the thimble at the roots of the two middle fingers of the left h a n d . Close these two fin-

gers o n t h e t h i m b l e , Figs. 5, 6, b e n d t h e r i g h t f o r e f i n g e r i n w a r d s , c a r r y i n g the t h i m b l e a w a y , Fig. 7, a n d a t t h e s a m e time m o v e t h e left h a n d u p w a r d s as if it held the t h i m b l e . D r o p t h e r i g h t h a n d slightly, t h u m b - p a l m i n g t h e thimble. D r o p the r i g h t h a n d slightly, t h u m b - p a l m i n g t h e t h i m b l e , a n d b r i n g it u p w i t h t h e f o r e f i n g e r e x t e n d e d , p o i n t i n g to t h e left fist. T h e a c t i o n is similar to t h a t of N o . I I I . , b u t since cover is given by t w o fingers only of t h e left h a n d , g r e a t e r c a r e m u s t be t a k e n of t h e angles of vision of the a u d i e n c e . T H U M B - P A L M No. V. W i t h t h e r i g h t side to t h e f r o n t , show t h e t h i m b l e o n t h e r i g h t foref i n g e r b e h i n d t h e l e f t h a n d , b o t h h a n d s w i t h their b a c k s to t h e f r o n t , Fig. 8. W i t h d r a w the r i g h t f o r e f i n g e r d o w n w a r d s a n d show t h e t h i m b l e below t h e left h a n d . R e p l a c e the right f o r e f i n g e r b e h i n d the left h a n d b u t — i n p u s h i n g it u p w a r d s , t r a n s f e r t h i m b l e to t h e second f i n g e r b y g r i p p i n g it b e t w e e n t h e t h i r d f i n g e r a n d t h u m b a n d q u i c k l y i n s e r t i n g t h e tip of the second finger. Fig. 9. Close t h e left fingers a n d a p p a r e n t l y d r a w off t h e t h i m b l e , really b e n d t h e second f i n g e r d o w n a n d e x t e n d t h e f o r e f i n g e r i n t o t h e left h a n d . M o v e t h e left h a n d a w a y closed a n d p o i n t to it w i t h t h e r i g h t f o r e f i n g e r . T h e action should b e a slow one. THUMB-PALM VARIATION H a v i n g shown t h e t h i m b l e o n t h e f o r e f i n g e r f o r several moves, q u i e t l y t r a n s f e r it to t h e second f i n g e r . T h i s c a n be d o n e quickly by g r i p p i n g the t h i m b l e b e t w e e n the t h u m b a n d t h i r d f i n g e r , r e m o v i n g first f i n g e r a n d inserting the second. K e e p all t h e f i n g e r s e x t e n d e d a n d t h e h a n d o n e d g e to the a u d i e n c e a n d t h e c h a n g e in position will n o t be noticeable. T u r n left p a l m to t h e f r o n t a n d a p p a r e n t l y p l a c e the t h i m b l e i n t o it. W h a t you really d o is to close i n w a r d s t h e second, t h i r d a n d f o u r t h f i n g ers of the r i g h t h a n d a n d g r i p t h e b a r e f o r e f i n g e r w i t h t h e l e f t h a n d . D r a w this h a n d slowly a w a y as if t a k i n g off t h e t h i m b l e a n d p o i n t to it w i t h right forefinger. H O O K V A N I S H N o . 1. W i t h t h e r i g h t side to t h e f r o n t , show t h e t h i m b l e on the right foref i n g e r w i t h the o t h e r fingers closed. T h e b a c k of t h e h a n d is o u t w a r d s . Close t h e left h a n d w i t h i t s ' b a c k t o t h e f r o n t , t h u m b d o w n w a r d s . Fig. 1. P u s h the t h i m b l e i n t o t h e left fist, b e n d the r i g h t f o r e f i n g e r d o w n over t h e left t h u m b a n d g r i p t h e t h i m b l e b e t w e e n the t h u m b a n d second f i n g e r of t h e right h a n d . T h e a c t i o n b e i n g covered b y the b a c k of the h a n d . Fig. 2. S t r a i g h t e n t h e f o r e f i n g e r a n d w i t h d r a w t h e left h a n d closed as if it h e l d the t h i m b l e . H o l d t h e r i g h t h a n d s t a t i o n a r y f o r a m o m e n t , p o i n t i n g

to the left h a n d , t h e n d r o p it to the side, insert the f o r e f i n g e r into the t h i m b l e a n d t h u m b - p a l m it.

T h e t h i m b l e m a y be s h o w n a t first o n t h e second f i n g e r a n d be p u s h ed b y t h a t f i n g e r i n t o the left fist. I n t h a t case b e n d t h e f i n g e r d o w n a n d r o u n d t h e left t h u m b a n d g r i p the t h i m b l e w i t h the tips of first a n d t h i r d fingers. Fig. 3. T h e r i g h t h a n d c a n be shown e m p t y b y p u s h i n g t h e left t h u m b i n t o t h e t h i m b l e a n d b e n d i n g the left h a n d . T u r n the r i g h t h a n d over, b r i n g i n g its p a l m to the front, r e t a i n i n g the g r i p of the left h a n d o n the second f i n g e r . Fig. 4. T u r n t h e r i g h t h a n d b a c k a g a i n , b r i n g i n g its p a l m t o w a r d s the body, a n d t h u m b - p a l m t h e t h i m b l e in t h e r i g h t h a n d f r o m the left t h u m b . Finish the m o v e m e n t as u s u a l . H O O K V A N I S H No. I I R i g h t side to the f r o n t , y o u r left h a n d p a l m o u t w a r d s , a n d t h u m b p o i n t i n g u p . Place right h a n d b e h i n d t h e left, also p a l m to t h e f r o n t , a n d b e n d the m i d d l e finger w i t h t h e t h i m b l e i n t o left p a l m . Fig. 1. Close the left fingers over the t h i m b l e h o l d i n g it by a light pressure of the m i d d l e f i n g e r o n the rim a n d w i t h d r a w t h e right second finger, showing it bare. T u r n the left h a n d over o n the right, letting the t h i m b l e d r o p i n t o the b e n t fingers of the right h a n d , Fig. 2, a n d m o v e the closed left h a n d a w a y . P o i n t to the left h a n d w i t h the r i g h t f o r e f i n g e r a n d t u r n the r i g h t h a n d u p w a r d s showing t h e p a l m . T h e n a t u r a l closing of the t h r e e fingers in the act of p o i n t i n g conceals the thimble.

A very deceptive variation of this sleight can be m a d e thus. In t u r n i n g the h a n d s over retain the thimble on the second finger a n d keep it bent inwards. M o v e the left h a n d a w a y closed, t h u m b - p a l m the thimble f r o m the right second finger a n d p o i n t with t h e index finger. P r o p e r a t t e n t i o n to the angles will prove t h a t this is a very easy a n d p r a t i c a l vanish. SECOND FINGER-PALM This sleight is almost as i m p o r t a n t as the t h u m b - p a l m . W i t h the thimble on the second finger you have simply to bend the finger into the palm. C o n s t a n t use of the sleight c a n be m a d e . A f t e r t h u m b - p a l m i n g a thimble spread the fingers a p a r t carelessly in gesturing, then by closing the last three fingers a n d t r a n s f e r r i n g the thimble f r o m the t h u m b - p a l m

T H E FADEAWAY PALM W i t h the left side to t h e f r o n t , show the p a l m of right h a n d facing the audience, t h e thimble on t h e right middle finger, the t h u m b bent d o w n w a r d s t o w a r d s t h e little finger W i t h an u p w a r d s t h r o w i n g m o t i o n of the h a n d a n d a r m bend the second finger into the p a l m a n d leave the thimble pressed against the p a l m by the second point of the t h u m b . Straighten t h e second finger instantly. Do not t h u m b - p a l m the thimble, simply hold it between the t h u m b a n d the palm. K e e p the p a l m to the f r o n t t h r o u g h o u t . See Fig. Hold the position just long enough f o r the audience to note the disa p p e a r a n c e of the thimble, then reach u p into the air, t u r n i n g the h a n d over, a n d r e p r o d u c e the thimble on the tip of the third finger. THE BACK-PALM 1 — F r o m M i d d l e Finger S t a n d left side to the audience. Show the thimble on the middle finger of right h a n d , p a l m of h a n d outwards. Lender cover of an u p w a r d wave of the h a n d , grip the thimble between the first joints of the first a n d third fingers. Bend all the fingers i n w a r d , w i t h d r a w the middle finger a n d bend it in u n d e r the thimble t u r n i n g it over so t h a t its m o u t h rests on the back of the finger. I m m e d i a t e l y straighten all the fingers, keeping the palms t o w a r d the f r o n t t h r o u g h o u t . T o r e t u r n t h e thimble to the middle finger simply reverse the move Bend the middle finger a n d b r i n g it back u n d e r the thimble, t u r n i n g it

slightly in the action. Insert the tip of the finger a n d spread the fingers a p a r t . T h e move should be covered by an u p w a r d wave of the h a n d as if catching the thimble f r o m the air. W i t h this sleight the continous back a n d f r o n t palm can be executed. showing the back a n d f r o n t of the h a n d empty in rapid sequence. This is mentioned only to w a r n the readers not to use the sleight. T h e back-palm is a powerful weapon as a sleight, but as a flourish it kills all illusion a n d becomes mere jugglery. If it is necessary to bring the thimble f r o m the back-palm position to the f r o n t of the h a n d , do it u n d e r the cover of a turn to the left. Get the tip of the middle finger into the thimble, at once bending it with the third a n d f o u r t h fingers into the p a l m and point to the left h a n d with the forefinger. T h e back-palm can also be done with the thimble on the tip of the third finger. T h e movements arc exactly similar to those described above. As will be seen later some very pretty manipulations depend u p o n this sleight. 2 — F r o m the T h u m b T i p W i t h the right side to the front, show the thimble on the tip of the right t h u m b . U n d e r cover of a n u p w a r d throw, bend the t h u m b down and the fingers inward, curling the middle finger f u r t h e r in than the first and third. Grip the thimble by its rim between the first and third fingers, remove the t h u m b and straighten out all the fingers, the middle finger coming u p in f r o n t of the thimble as in No. 1. T o r e t u r n the thimble to the t h u m b tip,bend the middle finger u n d e r it, but not turning it over, and place the tip of the finger on it. Insert the t h u m b into the thimble, press it on firmly with the second finger and raise the t h u m b quickly. T h e moves can be m a d e very rapidly but must be covered by a wave of the h a n d . It should be noted t h a t w h e n the thimble is returned to the t h u m b tip, the h a n d m a y be instantly turned to show its back, the thimble being hidden by bending the t h u m b in behind the palm.

3 — From the Fork of the Thumb W i t h the thimble in the crotch of the t h u m b first insert the tip of the middle finger into the thimble, then extend the fingers a n d cxccutc the moves described in No. 1. See Figs. 1, 2, 3.

T H E FINGER-CLIP 1 — At the Front of the Hand Face the audience with the thimble on your forefinger. Bend the forefinger bringing the thimble against the second joint of the middle finger a n d p u t the t h u m b on it. Straighten the forefinger a n d with the t h u m b roll the thimble d o w n to the third joints of the second a n d third fingers. Clip it firmly by its rim between the fingers. Fig. 4. T o reproduce the thimble on the forefinger, bend the t h u m b on the side of the thimble a n d roll it along the middle finger u p to the second joint, insert the tip of the forefinger and straighten it out. In the same way the thimble can be clipped a n d recovered f r o m between the lowest joints of the first a n d second fingers. Note particularly that this sleight can be done just as easily with a n o t h e r thimble palmed at the same time.

2 — At the Back of the Hand With the body turned slightly to the right hold both h a n d s with their backs to the f r o n t . H a v e your thimble on the right t h u m b , hidden by the left h a n d . Fig. 1. Raise the left h a n d directly in f r o n t of right and push the thimble between the second a n d third fingers. Fig 1A. Press down on top of the thimble with the second finger, w i t h d r a w i n g the t h u m b , a n d slip the thimble between the fingers at the back on the second knuckle of the third finger, turning the h a n d in the action. D r o p the left h a n d slightly and show its p a l m also. Fig. 2.

Fig. 1A. right left.

This should b e

hand

instead

of

T o recover the thimble, t u r n the left h a n d back to f r o n t a n d raise it to cover the right h a n d . I n the act of t u r n i n g the right h a n d , bend the second a n d third fingers inward, p u t the index finger on the thimble, then d r o p the t h u m b on it a n d insert the tip of the forefinger. You m a y then produce it by straightening the forefinger or t h u m b - p a l m it and show the backs of both hands. T h e sleight is a difficult one, but once the knack is acquired the move is very deceptive. ACQUITMENTS 1 — From Thumb-Palm to Thumb-Palm Using Second Finger W i t h a thimble t h u m b - p a l m e d in the right h a n d , forefinger extended, point to the left h a n d . Hold the left p a l m to the f r o n t , with the right forefinger almost touching the left palm, right side of body to front. W i t h one continuous movement swing the h a n d s to the right, bringing the left h a n d behind the right and, as they cross in front, insert the left second finger into the thimble, instantly t h u m b - p a l m i n g it in the left h a n d . Fig. 3. At the end of the swing hold the right h a n d with its p a l m to the f r o n t a n d point to it with the left forefinger, the other three fingers closed on its palm. By again with the right palmed in the hesitation as

swinging the* h a n d s to the left a n d picking u p the thimble second finger, bring it back to its original position, t h u m b right h a n d . T h e move m u s t be m a d e smoothly without any the thimble is transferred f r o m one h a n d to the other.

Figure 3 Performer's View

2 — From Thumb-Palm in Right Hand W i t h right side to f r o n t a n d thimble t h u m b p a l m e d in right h a n d , show the left h a n d e m p t y and point to its palm. Fig. 1. T u r n the left h a n d to show its back, insert right forefinger into the thimble a n d extend right fingers behind t h e left h a n d , keeping the back of the h a n d to the f r o n t . Fig. 2. T u r n right h a n d , p a l m to the f r o n t , keeping the thimble behind the left h a n d . Fig. 3. T h e n t u r n back of right h a n d to front, bending the fingers into the p a l m a n d t h u m b - p a l m the thimble. T u r n the left h a n d p a l m o u t w a r d s a n d again point to it with t h e right index finger. Fig. 1.

3 — From Thumb-Palm to Back of Wrist Body, h a n d s a n d thimble in same positions as Fig. 1. Keeping the right forefinger on the left p a l m , insert right middle finger into the thimble. T u r n right h a n d over, bringing its p a l m to audience, a n d extend the second, third a n d f o u r t h fingers behind the left wrist. Fig. 4. In t u r n i n g the right h a n d back to its original position t h u m b - p a l m the thimble. T u r n the left h a n d over a n d point to its back. I n Fig. 4 thimble is on middle finger a t back of h a n d , not as shown. 4 — From Right Little Finger S t a n d with right side to audience, and with thimble on forefinger of right h a n d . Y o u r left h a n d is closed with t h u m b d o w n w a r d s a n d with back of h a n d to f r o n t . Push the thimble u p into left h a n d a n d extend the right little finger behind it, the other two fingers of right h a n d remaining in f r o n t . W i t h the tips of the left fingers remove the thimble f r o m the right forefinger and roll it towards the wrist, until the tip of the right little finger can be inserted into it. T u r n the right h a n d over u p w a r d s showing the p a l m a n d keeping the tip of the little finger behind the second and third. Fig. 5.

D r a w the left h a n d a w a y as if taking the thimble, at the same time t u r n the right h a n d bringing its back to the f r o n t , a n d close the second, third and f o u r t h fingers on the palm. Point to the left h a n d with the right forefinger which has been extended t h r o u g h o u t .

5 — From the Thumb Facing the audience, put a thimble on the left palm at the roots of the second a n d third fingers, its m o u t h towards the t h u m b , left fingers pointing to the front. Raise the left h a n d and slowly close the fingers over the thimble. As soon as it is hidden insert the left t h u m b and bring it outside the finger tips which you then press tightly into the palm. Bend the left h a n d inward towards the shoulder a n d keep the f o r e a r m straight up, elbow pressed to side. R u b the back of the left wrist with the right forefingers a n d then bring the h a n d u p over the left wrist a n d down on the inside of the wrist. As the right h a n d passes extend the left t h u m b a n d push the thimble into the fork of the right thumb, retaining it there. D r o p the left f o r e a r m a n d r u b the wrist with the right finger tips. O p e n the left h a n d a n d show it empty, t u r n to the right a n d as the h a n d s cross, insert left second finger into thimble a n d bend it into the left h a n d , extend forefinger and point to the right palm. 6 — Thumb-Palm T o Thumb-Palm Using Left Thumb W i t h thimble t h u m b - p a l m e d in right h a n d , right side of body to the f r o n t , show the left h a n d , p a l m outwards. Stroke the left h a n d f r o m the wrist to the finger tips with the right h a n d , back of the h a n d to the front. T u r n the left h a n d over and stroke its back in the same w a y and, as the h a n d passes, extend the left t h u m b , pick u p the thimble a n d bend it u p behind the left palm. Figs. 6, 7. T u r n the right h a n d p a l m to the audience and, with its back, stroke a back of the left h a n d . Again t u r n the right h a n d , bringing its p a l m on the back of the left wrist, a n d stroke the back of the left h a n d , this time extending the left t h u m b and placing the thimble in the fork of the right thumb. T h e n turn the left h a n d a n d point to its e m p t y p a l m with the right for' r inger.

Fig. 6. T h i m b l e is shown in w r o n g position; should b e in right t h u m b crotch being picked out by left t h u m b zip.

Fig 7. R e a r view. Back of t h ; s h a n d is facing audience.

T h e stroking must be done r a t h e r slowly since there must be no hesitation w h e n the thimble is picked u p and replaced. 7 — From Little Finger to Finger-Palm W i t h right side to the f r o n t , a n d thimble on the right little finger, bend it into your palm together with the second a n d third finger, a n d point to the e m p t y left h a n d with right forefinger. Fig. 1. U n d e r cover of a swing to the right, extend the right little finger, close the left second, third a n d f o u r t h fingers on it, d r a w i n g off the thimble into left finger-palm. A t the end of the swing point the left forefinger at the e m p t y right hnnd. o t h e r fingers bent in. T u r n left h a n d p a l m to t h e f r o n t , tip of the forefinger resting on right palm and the curled in fingers hiding the thimble. U n d e r cover of a swing towards the left, t u r n the left h a n d over a n d bend the second finger of the right h a n d into the curled fingers of the left, inserting its tip into the thimble and carrying it back against right palm. K e e p the right forefinger extended and at the end of the swing point to the e m p t y left h a n d . Fig. 2 shows correct position for finish of this sleight, b u t artist has the hands transposed.

8 — For T w o Thimbles A t O n c e Stand with right side to the front. O n e thimble is thumb-palmecl in h a n d right and a n o t h e r is on the tip of the third finger which is bent in on the palm. T h e right forefinger points to the left h a n d , which is held p a l m to the f r o n t a n d fingers pointing u p w a r d s . Fig. 1. M a k e a catch in the air w i t h the left h a n d , and at the same time insert the tip of the right second finger into the t h u m b - p a l m e d thimble. R u b the back of the left fist with the right forefinger. Quickly open the left h a n d , fingers pointing u p w a r d s and p a l m to the front. A m o m e n t later open the right h a n d behind the left, keeping the tips of the right fingers

hack of the left h a n d , which conceals the thimbles. S p r e a d all the fingers wide a p a r t . Both h a n d s a r e thus shown empty. D r o p the h a n d s slightly in turning t h e m over, quickly close the second, third a n d f o u r t h fingers of the right h a n d into the palm, and point the forefinger at the b a i k of the left h a n d . This sleight can be done with three thimbles, but in t h a t case the thimble of the forefinger is t h u m b - p a l m e d as the h a n d turns over, the forefinger being rapidly extended to point to the left h a n d . VEST ACQUITMENT 1 — Vest Vanish From Little Finger By this subtle sleight both h a n d s are left empty. Face the audience and show a thimble on the right forefinger. Close the left h a n d and hold it. with the knuckles upwards, a few inches f r o m the body. Push the thimble into the left fist a n d w i t h d r a w the right forefinger slowly, showing it bare. T h r u s t it into the fist again, pushing the thimble well in a n d then curl the left little finger r o u n d it. Straighten out the right little finger behind the left fist a n d with it pick u p the thimble, bending it back to the p a l m of the right h a n d instantly. T h e fingers of the left h a n d m u s t be opened slightly to allow the little finger to pass. In the action bring the h a n d s back, close to t h e vest. Again extend the right little finger a n d thrust the thimble into one of the openings of the vest between the buttons. T h e move should be carefully covered by the back of the left h a n d . Bend the little finger back again and move the h a n d s away f r o m the body. W i t h d r a w the right forefinger f r o m the left h a n d and show right h a n d is empty. Go t h r o u g h the motions of squeezing the thimble to n o t h i n g and show the left h a n d also quite empty. 2 — Vest Vanish Using the Thumb Proceed as in No. 1 u p to the insertion of the thimble into the left fist. As you do this keep the fingers of the right h a n d extended a n d pick u p the thimble on the right t h u m b . Push the thimble into the vest opening, leave it there and bend the t h u m b back to right h a n d . Complete the vanish as described in No. 1. This m e t h o d can be used to vanish several thimbles one a f t e r the other, the thimbles nesting as they are pushed into the vest. 1. 2. 3. 4.

ADVANCED FINGER PRATICE T h u m b - p a l m the thimble. Pick it u p with second finger a n d b a c k - p a l m it. Reverse to second finger tip and t h u m b - p a l m it. Pick u p on third finger a n d b a c k - p a l m behind it.

5. 6. 7. 8." 5'. 10.

Reverse to t h i r d f i n g e r tip a n d p a l m it. Pick u p w i t h little f i n g e r a n d e x t e n d linger rapidly. P a l m t h i m b l e f r o m little finger. Pick u p f r o m p a l m w i t h t h i r d finger a n d b a c k - p a l m t h i m b l e . Reverse a n d t h u m b - p a l m from t h i r d finger tip, Pick u p w i t h second f i n g e r a n d h a c k - p a l m .

11,. Reverse a n d t h u m b - p a l m f r o m second finger. 12. Pick u p w i t h first f i n g e r a n d r e p e a t the r o u t i n e . In m o v e No. 7, t h e t h i m b l e m u s t be loosely o n the little f i n g e r tip. o t h e r w i s e some d i f f i c u l t y will be experienced in p a l m i n g it. T h e moves m u s t be d o n e w i t h e q u a l facility by c i t h e r h a n d . T h e r e is n o b e t t e r exercise f o r s t r e n g t h e n i n g a n d increasing the niinbleness of the fingers. A FINGER PRACTICE EFFECT A novel w a y to i n t r o d u c e t h i m b l e m a n i p u l a t i o n s is to p r e t e n d lo e x p l a i n , in reply to a n a s s u m e d question, h o w m a g i c i a n s k e e p their fingers nimble. S h o w a red t h i m b l e a n d a w h i t e o n e a n d p u t the red on y o u r right f o r e f i n g e r a n d the w h i t e o n the second finger. At the s a m e time secretly t r a n s f e r a second red t h i m b l e to the p a l m of the same h a n d f r o m the hit little l i n g e r tip. W o r k the following moves: 1. U n d e r cover of a w a v e of the h a n d , t h u m b - p a l m the red thimble f r o m the f o r e f i n g e r a n d pick u p the p a l m e d red t h i m b l e on the t o p of the little finger. T h e red t h i m b l e h a s a p p a r e n t l y j u m p e d f r o m i n d e x to little finger. 2. W a v e the h a n d a g a i n , pick u p the red t h u m b - p a l m e d t h i m b l e w i t h the f o r e f i n g e r , p a l m the d u p l i c a t e red t h i m b l e f r o m little finger, e x t e n d i n g the fingers rapidly. T h e thimbles a r c back in their o r g i n a l positions. ?i. R e p e a t No. 1 move. 4. W i t h y o u r left h a n d t a k e off the red t h i m b l e f r o m little f i n g e r a n d p u t it on the f o r e f i n g e r , a t the same t i m e insert left little f i n g e r into the t h u m b - p a l m e d t h i m b l e a n d steal it. D r o p this d u p l i c a t e red t h i m b l e i n t o a pocket at the first o p p o r t u n i t y . 5. Call a t t e n t i o n to t h e red a n d w h i t e t h i m b l e s o n first a n d second fingers. T h u m b - p a l m t h e r e d , g r i p the w h i t e one b e t w e e n t h u m b a n d t h i r d finger tips a n d insert f o r e f i n g e r , pick u p t h e red o n e w i t h second f i n g e r a n d e x t e n d t h e fingers. T h e thimbles h a v e c h a n g e d places. T h i s m o v e m a y be r e p e a t e d several times, the h a n d s being freely shown to p r o v e t h a t t w o only a r c in use, b u t d o n o t say a n y t h i n g a b o u t t h a t . F r o m this you m a y pass to a r e g u l a r t h i m b l e r o u t i n e . T h i s clever idea is by O t i s M a n n i n g in T h e J i n x . F e b r u a r y . 1936.

C H A P T E R III.

PRODUCTION OF THE FIRST THIMBLE VARIOUS METHODS 1. Put a thimble m o u t h u p w a r d s in the right h a n d lower vest pocket at the top of the outer corner. Casually a d j u s t the vest with both hands, t h u m b s going to the vest pockets, nip out the thimble with the tip of the right forefingers, t h u m b - p a l m i n g it instantly. A m o m e n t later reach out and produce on the forefinger, a p p a r e n t l y f r o m the air. 2. M a k e a catch with the left h a n d , open it, empty. Repeat the catch with the right h a n d , at the same m o m e n t taking a thimble Irom a clip at the bottom edge of the coat with the left h a n d . O p e n the right h a n d and show it also empty. Close the left h a n d on the thimble a n d raise it shoulder high. Push the right forefinger into the left fist a n d bring it out slowly with the thimble on its tip. 3. Conccal a thimble in the vest opening between the third and f o u r t h buttons, its m o u t h towards the right. Show both hands empty. close the left, holding it close to the body n e a r the hidden thimble. Show right h a n d e m p t y again, close the sccond. third and fourth fingers on the p a l m and push the forefinger into the left fist, p a l m of the h a n d being u p w a r d . Extend the right little finger u n d e r cover of the left fist, insert it in the vested thimble, w i t h d r a w it and double the linger back into palm. M o v e both h a n d s f o r w a r d , w i t h d r a w the right finger and open the left h a n d , nothing there. Close the left h a n d again, this time well a w a v f r o m the body, knuckles upwards. Push the right forefinger well into the fist, extend the right little finger and nip off the thimble with the tips of the left third and f o u r t h fingers. W i t h d r a w the right forefinger, showing it still bare, and once more push it into the left fist. Insert the finger tip into the thimble a n d slowly w i t h d r a w it. showing the thimble and opening the left h a n d . T h e whole action must be done smoothly and not rapidly. 4. A small piece of tinfoil is b u r n e d a n d t r a n s f o r m e d into a thimble. You require a small square of tinfoil, a metal ash tray and a m a t c h box with a hole cut in one end of the d r a w e r in which a thimble has been p u t . m o u t h upwards. Show the tinfoil and mould it on the tip of your right second finger, r a t h e r loosely, into the rough shape of a thimble. Pick u p the m a t c h box with your left h a n d , push the d r a w e r f o r w a r d inserting tip of second finger into the thimble and w i t h d r a w it, closing finger against palm. T a k e

out a m a t c h , transfer the tinfoil mould to the second linger ol your lc-lt h a n d , letting it go over the thimble just obtained. M o u l d it against the thimble a n d set both down on the ash tray. Light the m a t c h and set lire to the tinfoil. This b u r n s a w a y leaving thimble. 5. A " f l a s h " production. Show a small piece of flash p a p e r and mould it loosely on the top of the left forefinger in rough thimble shape. Lift it off with the right h a n d a n d hold it u p with its m o u t h to the iront. showing it empty. Replace it on the left forefinger, which at the same m o m e n t picks u p a thimble from t h u m b - p a l m , so t h a t the flash p a p e r cap goes over the thimble. A trial will show t h a t this can easily be done without the thimble being seen by the onlookers. Flash off the c a p with a lighted m a t c h , or the the tip of a lighted cigarette. D o not use celluloid thimble for this effect. VARIOUS MOVES FOR R O U T I N E 1 — Through The Hand W i t h the right side to the front, hold left h a n d vertically, thimble on the right forefinger against the left palm, the other three fingers of the right h a n d extended behind the left. Fig 1. T u r n to the front, t h u m b - p a l m the thimble u n d e r cover of t h e left fingers a n d quickly grasp the right forefinger with them. Fig. 2. R e t a i n hold of the forefinger a n d t u r n to the left bringing the back of the right h a n d towards the audience. Pick u p the thimble with the right second finger a n d extend it behind the left h a n d as you t u r n the right h a n d to bring its p a l m to the front. Fig. 3. O p e n left h a n d , showing forefinger bare a n d t u r n t h e left h a n d revealing the thimble on the tip of the second finger resting against the back of the h a n d . Fig. 4.

2 — Swallowed and Pulled From Throat S t a n d f a c i n g the f r o n t , thimble on the tip of the right t h u m b , raise

the thimble to the lips a n d lower it. Raise it again and finger-palm th.thimble a m o m e n t before p u t t i n g the t h u m b into the m o u t h . Remove the t h u m b slowly, showing it bare, pretend to (hew the thimble and then swallow it. G r i m a c e as if having difficulty in getting it down. Raise the right h a n d quickly, pushing the t h u m b tip into the thimble, extend it a n d press the top of the thimble against the left side of the t h r o a t pulling the loose skin over it with the tips of the first and second fingers. Pull the thimble slowly into view so that it a p p e a r s to come through the skin. 3 — T w o Quick Moves W i t h the left side to the front show a thimble on the right t h u m b . U n d e r cover of an u p w a r d throw b a c k - p a l m the thimble. Pretend to w a t c h its flight a n d as your p a n t o m i n e indicates it is dropping, take a step to the right and suddenly push up the second finger with the thimble on it as if just caught, close the other fingers. Extend t h e fingers and hold the right h a n d with its p a l m to the front. W i t h a wave of the h a n d vanish the thimble by the F a d e w a y palm. Page 13. R e p r o d u c e it on the tip of the third finger f r o m the back of the head. 4 — Production From the Mouth W i t h the right side to the front, show a thimble on the right t h u m b . Close left h a n d with the back of the h a n d uppermost, insert the right t h u m b into the fist a n d bend its tip. with the thimble on it. down over the left t h u m b . W i t h the tip of the right little finger nip off the thimble a n d keep all the right fingers bent inwards. Straighten the right t h u m b u p w a r d s a n d d r a w the left h a n d over it as if removing the thimble. Vanish it then in the usual fashion. Raise the right h a n d to the m o u t h and, a m o m e n t before the t h u m b reaches the lips, bend it down, pick u p the finger-palmed thimble, and push in into your m o u t h . T h e action is covcred by the position of the h a n d but the t h u m b must move rapidly. Remove the t h u m b with the thimble on its tip very slowly. 5 — A Thumb Steal W i t h the right side to the audience, display a thimble on the right forefinger and close the left h a n d with the knuckles u p w a r d . Push the thimble into the fist leaving its m o u t h just at the opening of the t h u m b and first finger. Let it be seen t h a t the thimble is really there. Pat the side of the fist with the right h a n d , secretly inserting the tip of the t h u m b a n d stealing the thimble. Fig. 1.

Vanish the thimble f r o m the left fist by c r u m b l i n g it away, or as you wish, at the same time letting the right h a n d drop. Quietly press the thimble off the t h u m b into t h e finger-clop between the second a n d third fingers ready for reproduction as m a y be desired.

G — A " V i c t o r " ious V a n i s h W i t h the right side of body to the f r o n t , show a thimble on the tip of the right forefinger, holding it at the back of the left h a n d . Fig. 2. und e r cover of the left h a n d t h u m b - p a l m the thimble in the right a n d close the left fingers on the forefingers as it is again extended. R e t a i n i n g the left h a n d grip of the right forefinger, clip the thimble between the second a n d third fingers, by t h e side of the rim nearest the t h u m b , place t h e side of the first joint of right little finger against t h e opposite side of the first joint of right little finger against the opposite side of the rim, and, in t u r n i n g the right h a n d p a l m to the f r o n t , b a c k - p a l m the thimble between the middle a n d little fingers. Fig. 3. D r a w the left h a n d off the right forefinger, as if removing the thimble a n d show the right p a l m empty. Fig. 4. V a n i s h thimble f r o m left h a n d , d r o p the right with its back to the f r o n t , reverse the thimble a n d t h u m b - p a l m it f r o m the third finger. This clean vanish was contributed by E d w a r d Victor, the f a m o u s English expert, to the M a g i c W a n d , q u a r t erly, to which magicians arc indebted for a host of good things. 7 — A "Sucker" Vanish . Show a thimble on the right forefinger a n d a p p a r e n t l y leave it in the left h a n d , really t h u m b - p a l m i n g it in the right by one of t h e m e t h o d s already explained. R e p r o d u c e it on the right forefinger a n d hold the h a n d n e a r the left a r m p i t . P r e t e n d to p u t the thimble in the left a r m p i t a n d press the elbow close to the side, really t h u m b - p a l m it and then t r a n s f e r it to the second finger. Hold the left p a l m o u t w a r d s a n d point to its p a l m with the right forefinger. T u r n to the right to bring the right p a l m to the f r o n t , and, as the h a n d s cross in f r o n t of the body, extend t h e right second finger

draw the thimble off with the second, third a n d f o u r t h fingers of the left h a n d , bending them into the left palm. Point to the e m p t y right palm with the left forefinger. T u r n to the front, left elbow still pressed against the side, raise the left f o r e a r m straight up. back of h a n d to the f r o n t a n d insert the left t h u m b into the thiinble. Slap the left elbow with the right h a n d and straighten the left t h u m b showing the thimble, at the same time raise the left a r m f r o m the side. 8 — L'p the A r m M a k e the motion of putting a thimble into the left h a n d , really t h u m b - p a l m i n g it in the right. Bend the right forearm u p w a r d s and ex tend the right fingers, back of the h a n d to the front. Slap the left h a n d smartly on the right elbow and instantly pick up the thimble with the right second finger and snap it into view. 9 — Taps Facing to the front, show a thimble on the right forefinger a n d close the left h a n d in f r o n t of the body, knuckles u p w a r d . Push the thimble into the left fist, leaving it in the bend of the forefinger a t the t h u m b side of the fist, but push the finger well in as if pushing the thimble right into the h a n d . T a p the side of the first joint of the left forefinger with the tips of the right fingers several times and. at the last tap, bend the tip of the right middle finger into the thimble and steal it. At the same m o m e n t turn the left h a n d u p w a r d s , raising it to the left and t h u m b - p a l m the thimble f r o m the tip of the right second finger. Point to the left h a n d with the right forefinger keeping the other three fingers closed on the palm. O p e n the left h a n d , empty. T h e idea for this quick a n d easy vanish is taken f r o m "Slow Sleights" by E. Brian M a c C a r t h y . published by T h e M a g i c W a n d . 10 — T w o For One T h e following effect is one of the favorite moves of M r . James Shannon, a very clever m a n i p u l a t o r of thimbles. T o present the trick announce t h a t you really have two thimbles, one visible a n d one hidden, and you challenge the onlookers to find out where the second is concealed. Showing a thimble on the forefinger, you say, " H e r e is one." Push it into the left fist, pull it off the forefinger with the tip of the left third finger, push the point of the right t h u m b into the thimble and instantly raise the t h u m b straight u p with a f o r w a r d twist of the wrist, saying, " A n d here is the other." R e t a i n the grip by the left h a n d on the right forefinger.

A f t e r a m o m e n t or two turn the right t h u m b over inwards and downwards, pull the thimble off the t h u m b with the tip of the left third finger a n d insert the second finger into it. Remove the right forefinger a n d open b o t h h a n d s showing the one thimble on the tip of the left second finger. N a t u r a l l y there is no trace of any other thimble. 11 — From Hand to Hand and Back Again Facing the audience, show a thimble on the left forefinger a n d hold a duplicate thimble t h u m b - p a l m e d in right h a n d . P u t both h a n d s in f r o n t of your knees, backs to f r o n t and forefinger only extended. Swing the arms slightly to and fro, quickly t h u m b - p a l m the thimble on left forefinger and produce t h u m b - p a l m e d thimble on right forefinger. Hold the h a n d s still for a m o m e n t to show the change. T h e n raise them to the right and remove the thimble f r o m right forefinger with the left forefinger and t h u m b . At the same m o m e n t with the second finger of t h 1 right h a n d steal the t h u m b - p a l m e d thimble f r o m the left h a n d a n d t h u m b palm it in the right. Put the visible thimble on the tip of the left forefinger a n d repeat the slight. 12 — F o u r T h i m b l e s F r o m H a n d to H a n d S t a n d facing the audience a n d show a thimble on each finger of the right h a n d ; a f i f t h t h u m b - p a l m e d in the same h a n d T u r n t h e left h a n d palm o u t w a r d s a n d rest the tips of the right fingers on it just above the wrist. T u r n to the right a n d by means of acquitment No. 1 (p. 16) transfer the t h u m b - p a l m e d thimble to the left middle finger and t h u m b - p a l m it. T u r n to the left and show the backs of both hands. U n d e r covcr of a wave of b o t h hands, t h u m b - p a l m the thimble f r o m the right forefinger and pick u p the t h u m b - p a l m e d thimble in the left h a n d with the left forefinger. A thimble a p p e a r s to have flown f r o m one h a n d to the other. Face to the front, with the right forefinger and t h u m b remove the thimble f r o m left forefinger a n d at the same m o m e n t steal the thimble t h u m b - p a l m e d in the right h a n d with the left second finger. P u t the thimble just taken off the forefinger on the tip of the left little finger. W i t h the left h a n d change the thimble f r o m tip of little finger to forefinger of right h a n d . T u r n again to the left, showing the backs of the h a n d , repeat the waving of the hands, t h u m b - p a l m the thimble f r o m the right forefinger and producing thimble on the left forefinger. T w o thimbles have passed across. C h a n g e the positions of thimbles as before, again stealing one with the left h a n d , a n d repeat the moves until all four thimbles arc on the left fingers.

C H A P T E R IV.

SOME FLOURISHES This effective little move m a y be introduced at any time t h a t you have one thimble in view a n d a duplicate t h u m b - p a l m e d . Suppose a thimble is t h u m b - p a l m e d in your left h a n d a n d you have a n o t h e r on the forefinger. Deliberately remove the visible thimble with your right h a n d a n d toss it into the air. As it descends catch it in the left h a n d , at the same m o m e n t pick u p the t h u m b - p a l m e d duplicate a n d show it on the tip of the left forefinger. Neatly timed the illusion of the thimble having been skillfully c a u g h t on the finger tip is perfect. PLOP I n the act of taking a thimble f r o m a finger tip a sound can be produced like popping of a cork f r o m a bottle. T h e action is simple. Put a thimble on, say, the right middle finger and bend inwards on the ball of the t h u m b . Press firmly with both finger and t h u m b , the t h u m b pressing the point of the thimble inwards, a n d the middle finger outwards, until the tip of the finger slips out of the thimble with a loud "plop". Effective use of this can be m a d e w h e n removing the thimbles f r o m t h e fingers a f t e r t h e closing production of eight thimbles. AMPUTATION This is the feat of a p p a r e n t l y removing the top joint of the t h u m b greatly improved by the addition of a thimble to the t h u m b . Place a thimble openly on the tip of the left t h u m b holding the h a n d vertically in f r o n t of the body, the t h u m b lying flat a n d just above the top edge of the first finger. P u t the tips of the first three fingers of the right h a n d on the second joint of the left t h u m b in f r o n t , a n d the tip of the right t h u m b behind. R u b vigorously for a m o m e n t or two, remove the right h a n d , look at the joint, a n d resume rubbing. Bend the right t h u m b in behind the fingers and with its nail push the thimble off the left t h u m b so t h a t its top is pushed against the right little finger, insert right t h u m b into the thimble and bend the first joint of the left t h u m b d o w n w a r d . P u t the knuckles of the two t h u m b s together, a n d rest the right forefinger tip at the point where they meet. Close the other three fingers of the right h a n d in behind the t h u m b tip. Straighten out the left forefinger and slowly d r a w the right h a n d outwards, a p p a r e n t l y moving the first joint of the left t h u m b with the thimble on it, out to the very tip of the left forefinger. K e e p the right forefinger on the first knuckle of the right t h u m b t h r o u g h o u t the action.

T o finish the cffect, bring the t h u m b joints together, d r o p the right fingers in f r o n t again, grip the thimble for a m o m e n t with the right little finger, remove the right t h u m b and instantly insert the left t h u m b into the 'thimble. R u b the joint vigorously with the right t h u m b a n d fingers, " t o restore the circulation," a n d show the left t h u m b tip again firmly a t t a c h e d to your h a n d . T H E ELASTIC FINGER W i t h the right side of the body to the f r o n t , show a thimble on the right forefinger and close the left h a n d , holding it with the t h u m b side d o w n w a r d s . Insert the right forefinger a n d thimble into the left fist a n d p u s h it u p w a r d s until the thimble is visible above the little finger side of the fist. W i t h d r a w the forefinger a n d show the thimble again. O n c e m o r e insert the forefinger a n d thimble into the left fist, b u t this time transfer the thimble f r o m the tip of the right forefinger to the left t h u m b . Bend the t h u m b u p w a r d s so t h a t the top of the thimble shows above the fist as before. Fig. 1. Twist the left h a n d back a n d f o r t h and d r a w it u p w a r d s , sliding it along t h e right forefinger as if the finger were stretching. C o n t i n u e the m o v e m e n t until the tip only of the finger remains in the left fist. Fig. 2. Slide t h e left fist slowly d o w n the forefinger, transferring the thimble back to the forefinger, a n d then open a n d remove t h e left h a n d .

C H A P T E R V.

THIMBLE T H R O U G H SILK M e t h o d No. 1. Show a thimble on the left forefinger, back of the h a n d to t h e f r o n t a n d right side of the body to the audience. D r a p e a silk handkerchief over the thimble a n d finger, a p p a r e n t l y , really, as soon as the finger is hidden, rapidly t h u m b - p a l m the thimble a n d extend the

finger. A d j u s t the silk over the finger a n d on the h a n d , so t h a t the m o u t h of the thimble is not covered. Place the right h a n d in f r o n t of the left forefinger a n d slowly close the fingers r o u n d it, but as soon as the forefinger is hidden bend it down insert it with the silk covering it into the thimble, pressing the tip in firmly, a n d raising it again with the thimble on it. D r a w the right h a n d slowly downwards, the thimble coming into view on the outside of the silk. Remove the thimble a n d show the silk intact. M e t h o d No. 2. With the thimble and the h a n d s in the same position as in No. 1, d r a p e the silk over the left h a n d , but, in so doing, t h u m b palm the thimble on its tip and let the silk fall, over the second finger. It appears to be over .the first finger. Press the silk round the middle finger with the right h a n d , keeping its back to the front. Extend the left forefinger, inserting the thimble in the crotch of the right t h u m b a n d f r o m t h a t position press down on the tip of the second finger on the outside of the silk. Show the thimble slowly. Remove the thimble a n d d r a w the silk off the left h a n d , at the same time bending the second finger d o w n and straightening out the forefinger. Show the silk intact. M e t h o d No. 3. This varation is given by Lloyd in his clever book on thimble manipulations. With the hands in f r o n t of the body, show a thimble on the right index finger a n d a silk handkerchief in the left h a n d . In throwing the silk over the right h a n d , t h u m b - p a l m the thimble and quickly straighten the forefinger again. Insert the tip of the second finger into the thimble, Fig. 1. Stroke the left h a n d down over the silk and right forefinger, extend the right second finger and d r a w the thimble

off with the left t h u m b , holding it against the inside of the left fingers. Fig. 2. Again stroke the right forefinger a n d silk a n d leave the thimble on the right forefinger outside the silk. Method No. 4 — With a Faked Thimble I n this effect the thimble is a p p a r e n t l y pushed half way through a silk handkerchief so t h a t half the thimble is visible on each side. I t is w i t h d r a w n a n d the effect is repeated, the thimble going right t h r o u g h the silk. A t r a n s p a r e n t celluloid thimble fitting inside an o r d i n a r y thimble and a half thimble are required. T o begin with show all three on the forefinger of the left h a n d , the thimble being over the celluloid one a n d the half thimble on the top of the visible one. T h r o w a silk handkerchief over the extended left forefinger, nipping off the half thimble with the right fingers as you d r a p e the silk. Press the middle of the silk over the thimble a n d press the half thimble on top of it on t h e outside. T h e thimble then a p p e a r to be half w a y through, and by lifting the edge of the silk, steadying the half thimble with the right t h u m b , t h e lower half of the thimble m a y be shown. By a reversal of t h e moves p a l m off the half thimble a n d then drawoff the silk, letting t h e fake d r o p into a pocket as you m a k e a motion of pockcting the silk. I n response to a p r e t e n d e d request offer to repeat the effect. D r a p e the silk over the forefinger b u t in doing so quickly nip the thimble off the forefinger by curling the left third finger r o u n d it, leaving the celluloid f a k e on the finger tip. L e t a spectator feel this. Again press the silk r o u n d the forefinger and push its tip into the p a l m e d thimble which comes into view as the right h a n d passes d o w n w a r d . R e m o v e the thimble a n d t h u m b - p a l m the celluloid fake in d r a w i n g off the silk. I t can be d r o p p e d into a pocket w h e n p u t t i n g the silk away.

CHAPTER VI

COLOR CHANGES 1. W i t h the right side of the body to the f r o n t , show a white thimble on the right forefinger. H a v e a red thimble t h u m b - p a l m e d . T u r n the left h a n d showing the p a l m , fingers extended, then t u r n it over, bringing its back towards the audience and half close the fingers. Push the right forefingers into the left h a n d so t h a t the thimble p r o t r u d e s on the little finger side a n d call attention to its color—white. W i t h d r a w the finger and again show the thimble.

O n c e m o r e p u s h the forefinger into the left h a n d and, as soon as it is well u n d e r cover, pick u p the t h u m b - p a l m e d red thimble with the right second finger a n d extend it also into the left h a n d . Push the right forefinger t h r o u g h as before showing the white thimble on the little finger side of the left h a n d a n d bend the second finger a little to avoid the prem a t u r e a p p e a r a n c e of the red thimble. D r a w the forefinger back into the left h a n d until the white thimble is out of sight, bend it inwards a n d straighten the second finger. Push it o u t w a r d s until the red thimble shows at exactly the same spot at which the white thimble was visible a m o m e n t before. K e e p the red in view for a m o m e n t or two, then w i t h d r a w the second finger, bend it in a n d t h u m b - p a l m the thimble. Straighten out the forefinger a n d bring it f r o m the left h a n d showing the white thimble. T u r n the left h a n d over a n d show it empty. "Simply a vivid blush, that's all,'' you r e m a r k casually. 2. T h i s c h a n g e follows vey well a f t e r No. 1. Show t h e h a n d s as before b u t w h e n you t u r n the left h a n d over a n d close t h e fingers on the right forefinger, quickly extend the right second finger, leave t h e red thimble in t h e half closed left fingers, a n d as rapidly bend the finger back again. Bend the right forefinger r o u n d the left t h u m b , pull off t h e white thimble, insert the tip of the right t h u m b a n d p u s h the thimble into t h e openings between the vest buttons. Insert the right forefinger into the red thimble a n d t u r n t h e h a n d s so t h a t the forefinger points straight up. Slide the left h a n d d o w n w a r d s a n d let the red thimble come gradually into view. O p e n both h a n d s a n d show t h a t you have one thimble only. 3. F a c i n g the audience, show a red thimble on the right index finger, white thimble finger-palmed on second finger, backs of h a n d s to t h e f r o n t . Stroke the red thimble with fingers of the left h a n d . Extend the right second finger a n d grip the white thimble with the tip of the t h u m b against the inside of the left fingers, instantly bending the second finger in again. O n c e more stroke the red thimble, t h u m b - p a l m i n g it in the right h a n d as soon as it is covered, and rapidly extend the finger again, pushing its tip into the white thimble. Show this a n d t u r n the left h a n d p a l m outwards, fingers extended. P e r f o r m this sleight with a r a t h e r slow m o v e m e n t w i t h o u t hesitation or stoppage. 4. W i t h the h a n d s in f r o n t of the body, show a white thimble on the right forefinger, red thimble t h u m b - p a l m e d . Remove the white thimble with the left h a n d , show it a n d turn

the h a n d r o u n d showing all parts. Replace the white thimble on the right forefinger, at the same time extend the right second finger with the red thimble a n d d r a w this off with the left t h u m b . Show all parts of the right h a n d . Close the left fingers on the red thimble, keeping its m o u t h towards the left t h u m b . T u r n the left h a n d a p p a r e n t l y push the white thimble into the left h a n d , executing t h u m b - p a l m No. 1 (p. 4) Insert the forefinger into the red thimble a n d slowly open the left fingers showing the red thimble against the left palm. 5. W i t h the right side to the front, show a white thimble on the right forefinger, red thimble finger-palmed on second finger. Hold the left h a n d p a l m o u t w a r d s a n d place the forefinger against the left palm, extending the other right fingers behind the left palm, hiding the red thimble on the second finger tip. Both h a n d s have their palms outwards. Fig, 1. T u r n the h a n d s rapidly, t h u m b - p a l m i n g the white thimble and d r a w i n g off t h e red with the left fingers which close on it. It a p p e a r s t h a t you have simply removed the white thimble with the left hand. P u s h the right forefinger into t h e left h a n d several times, finally inserting it into the red thimble. O p e n the left fingers u p w a r d s a n d show the change. 6. W i t h the left side to the f r o n t , show a white thimble on the right m i d d l e finger, holding the h a n d with its back to the f r o n t , a red thimble is t h u m b - p a l m e d .

Color Change

Fig. 1

No. 5

U n d e r cover of a wave of the h a n d , bringing its p a l m to the front, b a c k - p a l m t h e white thimble a n d pick u p the red f r o m its t h u m b palmed position, rapidly extending the fingers again. T h e red thimble is now visible on the second finger tip, the white concealed behind. By reversing the moves in t u r n i n g the h a n d to bring its back to

the f r o n t , t h u m b - p a l m the red thimble a n d bring the white back to the second finger tip. 7. Facing the audience, show a white thimble on the right first finger, a red thimble being finger-clipped between the second a n d third fingers, back of the h a n d outwards. W i t h a quick wave of the h a n d t h u m b - p a l m the white thimble a n d produce the red thimble on the forefinger by rolling it f o r w a r d with the t h u m b a n d inserting the tip of the finger. This a n d also No. 6 must be worked very rapidly. 8. Using a Special Thimble For this very p r e t t y color change two thimbles are necessary. O n e is half white a n d half red, the other is blue. T h e blue thimble must nest in the other one. Fig. 1. Show the thimbles as one, nested, red side to the f r o n t , on the tip of the right forefinger, t h u m b a n d second finger, gripping its sides a n d masking the white p a r t . Fig 2. Hold the h a n d with its p a l m to the f r o n t . W i t h a wave of the h a n d a n d a twist of the t h u m b and finger give the thimble a half t u r n , bringing the white side to the front. W a v e the h a n d again, this time over to the right, bringing the back of the h a n d to t h e f r o n t a n d t h u m b - p a l m t h e red-white thimble, leaving the blue thimble in sight of the forefinger.

CHAPTER

VII.

VARIOUS ROUTINES I n presenting a series of thimble m a n i p u l a t i o n s to a n audiencc the various moves should be worked one into the other without any necessary movements, m a k i n g the effects produced as varied as possible. T h e student should choose f r o m the preceding pages effects t h a t appeal to him, combine t h e m so t h a t they follow one a n o t h e r smoothly, leading u p to the climax p r o d u c t i o n of a thimble on every finger. T w o routines follow, in addition to t h a t already detailed fully in C h a p t e r No. 1. These should serve as examples only, each p e r f o r m e r should work out a routine f o r himself.

1. T h e following routine is that adopted by M r . James S h a n n o n , w h o has already been mentioned. Eleven thimbles are necessary, all of the same color. Insert three in elastic loops just inside the bottom edge of the coat on the right side, four in similar loops on the left h a n d side of the coat, one in the left trousers cuff, one in the right trousers cuff, one in the shirt collar and the last one t h u m b - p a l m e d in the right h a n d . T h e moves follow:— 1. Show the hands e m p t y by acquitement No. 1 (p. 16). 2. Produce thimble on right index finger. 3. Place in left h a n d , vanish and produce f r o m left elbow. 4. Place in m o u t h , w i t h d r a w through ncck. (p. 23). 5. Put in left h a n d , vanish produce duplicate f r o m collar. 6. Remove visihle thimble and put it on table. 7. C h a n g e over and produce on left forefinger ( a c q u i t m e n t No. 1). 8. V a n i s h by back-palm, take duplicate f r o m right trouser cufT and 9. 10. 11. 12. 13. 15. 16. 17.

put it on the table. Produce palmed thimble on right index finger. Place in left, vanish, take duplicate from left trousers cufT and p u t it on the tabic. Produce on index finger, vanish by way of the vest f r o m t h u m b . Repeat with the three on table, nesting them. T a k e the f o u r t h f r o m the table, place in left h a n d and vanish it. Reproduce this one f r o m the right h a n d edge of coat, securing the three f r o m elastic loops, closing three fingers into palm. R e p r o d u c e it f r o m left h a n d edge of coat, taking all four from loops, showing one on index finger, others bent into h a n d . Toss in air and then show all four on left fingers. Suddenly straighten out the right fingers showing the second set of four thimbles.

2. This routine by M r . Ivor Smith is a good example of a more elaborate type. I t necessitates the use of a black art tabic, 1 red, white a n d blue thimble; 14 red, 8 blue and 8 white thimbles, 5 holders and a lemon. T h e holders must be fixed to carry a fifth thimble by means of a clip on the end. Place the holder as follows: No.' 1 with 5 red, u n d e r the vest on left side; No. 2 with 4 white, alongside No. 1; No. 3 with 4 blue u n d e r vest on right side; No. 4 with red, white, blue, white, red at the top of the left inside breast pocket on the left side; No. 5 with red, blue, white, blue, red, in left side coat pocket; 1 white, 1 blue and 1 white, in holes in the side of a l a r g e m a t c h box or card case; 4 reds, one in each shoe and one each side of neck in collar; lemon in right

coat pocket and, finally, the tri-color thimble in a clip near the lower edge of the coat on the right h a n d side. T o begin with, produce the tri-color on right forefinger. Pick up w a n d to display the thimble by p u t t i n g it on the end, move the m a t c h box a w a y and get the red, white a n d blue thimbles on the second, third, a n d f o u r t h fingers. Replace the tri-color thimble on the right lorefinger, keeping the other fingers bent inwards. Vanish the tri-color and extend the fingers showing the red, white a n d blue thimbles. Place the white and blue thimbles in f r o n t of the table well a n d let the tri-color thimble drop in secretly. M a k e various passes with the red thimble and in so doing load the right fingers as you recover the four reds f r o m shoes a n d collar 'see the routine in C h a p t e r 1). O n reaching the point where you have three reds secretly on the tips of the second, third and f o u r t h fingers and one openly on the forefinger, vanish this one and bring out the last red f r o m the left side of collar on the left forefinger. T r a n s f e r this to the tip of the right t h u m b , right fingers closed on palm, back of the h a n d to the front. T u r n to the left, rapidly extend the right fingers, showing four red thimbles a n d one on the t h u m b . At the same time load the left fingers and t h u m b f r o m No. 1 holder on the left side. E x t e n d left fingers and t h u m b showing five more reds. Remove the ten thimbles and put them on the table in f r o n t of the well. T u r n to the left in picking u p the blue thimble f r o m the table by pushing the right t h u m b tip into it, and load the left h a n d f r o m holder No. 2, closing the left fingers on the p a l m at once. Pick u p the white thimble and put it on the left t h u m b . T u r n to the right extending the left fingers and displaying the thimbles, at the same time load the right h a n d f r o m holder No. 3 a n d a m o m e n t later display them also. Remove the thimbles and put them on the table in f r o n t of the well. Pick u p a p a p e r bag, scoop u p the thimbles by h a n d f u l s and put t h e m into the bag, really dropping them into the well. Each time, a f t e r placing your hand into the bag, bring it out closcd with a furtive movement towards your right coat pocket. Blow up the bag and burst it, thimbles have vanished. Work u p the idea t h a t they arc in your right coat pocket, and finally allow a spectator to put his h a n d into the pocket and bring o u t — t h e lemon. In t u r n i n g to give access to the pocket there is ample o p p o r t u n i t y to load the hands f r o m the holders: No. 4 a n d Xo. 5.

3 — R o u t i n e W i t h Nested Thimbles Effective use can be m a d e of thimbles that fit one into the other, but they 'must be very carefully a d j u s t e d . T h e y must not lit so loosely as to d r o p a p a r t , nor again so tightly that there is difficulty in separating them. T h e following moves with a set of three nesting thimbles will serve as a p a t t e r n for o t h e r passes. R e f e r r i n g to the innermost as No. 1. the next as No. 2. and th;outermost as No. 3-- Place No. 1 on the first. No. 2 on the second and No. 3 on the third finger ol the right hand. Lift off No. 3 with the left h a n d , and u n d e r cover of the left fingers, held close together, slip it over No. 2. leaving it there. C a r r y a w a y the left hand closed as if holding the thimble. Work the lingers on the left palm and open them one by one. Vanish No. 2 in the same way by taking No. 2 and No. 3 oil' as one and slipping them over No. 1. Finally vanish all three as one thiinbl'by the t h u m b - p a l m . T o reproduce the three on the first three fingers as originally shown, first insert the tip of the forefinger into No. 1 and extend it just f a r enough to w i t h d r a w that thimble f r o m the o t h e r two. Insert the second finger tip into No. 2 w i t h d r a w i n g it in the same w a y a n d then insert the tip of the third finger into No. 3. Close the second and third fingers on the palm, t h u m b - p a l m No. 1 and extend the forefinger. These moves which actually take a second or two to do. ar