TRICKS WITH

A THUMB TIP

CATION
W I L L ALMA
M.I.M.C. (LONDON)
THUMBS UP!

B Y

JOHN KENYON

Illustrated by DENNIS

GOODLIFFE
PUBLICATION
 To MARIAN

FIRST PUBLISHED SEPTEMBER, 1946

Printed in England,
BY THE J O U R N A L PRINTING OFFICES
CANNON PASSAGE, BIRMINGHAM

and Published by
G O O D L I F F E THE MAGICIAN, 6, C O L O N N A D E P A S S A G E
BIRMINGHAM
 CONTENTS

Page
FOREWORD . . . . . . . . 5

CHAPTER O N E : The Torn and Restored Card Trick . 7

CHAPTER T W O : Passing The Salt . . . . 1 1

CHAPTER T H R E E : Magic Dough . . . . 14

CHAPTER F O U R : Making Money Go a Long Way . 16
CHAPTER F I V E : Cigarette Magic . . . . 19
CHAPTER S I X : Pencil Magic 22
CHAPTER SEVEN : Sending Money By P o s t . . . 26
CHAPTER E I G H T : The Hydrostatic Pound Note . . 29
CHAPTER N I N E : Thumb Penetration of a Handkerchief 31
CHAPTER T E N : The Vanishing and Reappearing Silk . 33
CHAPTER E L E V E N : Silk and Soup Plate . . . 36
CHAPTER T W E L V E : Cigarette and Ribbons . . . 38
CHAPTER THIRTEEN : Magical Surgery . . . 41
 The State Library of Victoria
"ALMA CONJURING COLLECTION"

F O R E W O R D

T HE tricks which constitute this little book are intended

both for the novice, who wants something easy to
perform, and for the expert, who requires something
striking in effect. They are written for the man who wishes
to create a little world of make-believe for a short space of
time with the minimum of apparatus. In addition to a few
items easily found in any household, all that is required for
their execution are a few thumb tips. With these gimmicks
and a minimum of practice, the feats here described may be
used to baffle the most sceptical audience and cause many a
professional entertainer to put on his thinking cap.

For most effects, metal thumb tips are preferred to those

of celluloid, since they may be used for tricks with lighted
cigarettes and do not wear out. They may be small or large,
and it is advisable to purchase a couple of each kind. A
third type of thumb tip is made of cloth sewn on to a ring
to form a little bag. The cloth, being flesh-coloured each
side, may be turned inside out, and thus easily transferred
from one thumb to the other. Therein lies the particular
advantage of this kind of tip ; its main disadvantage lies
in the fact that it is not so easily rendered " invisible " as
the other types.

There is a saying that a thumb tip is not seen unless

someone looks at it. This need not be true. If care is taken
to colour the tip to match the thumb exactly, there is nothing
to fear. Mine are invisible to anybody looking for them at
a distance of five feet, and I use them at far closer range
with complete confidence.
When you first wear a tip, you will feel that the whole
world is looking at it, just as a newly-engaged girl feels about
her ring. The truth is that nobody will look at your thumb
unless, by unnatural movements, you call attention to it.
The average person is very unobservant and sees only that
which he wishes to see or that of which he has some know-
ledge. In almost every trick there is 3ome point of
" weakness," where some move must be made surreptitiously
in order to bring the magic about. It is this imperfection
that gives magic its fascination. The " weakness " is best
concealed by an appearance of naturalness.

Provided that your thumb tip is coloured well and is as

nearly invisible as possible, and provided you do not call
attention to it by careless handling or an attempt to hide it,
then here are some tricks which come very near to perfection—
the sort of things a genuine magician would perform.

Natural concealment of the tip is, however, necessary.

No matter how well coloured it may be, it is as well not to
give the audience an uninterrupted view of it in a stationary
condition. With the tip on the left thumb and your left side
to the audience, allowing your arm to hang naturally at your
side will give perfect concealment. If it is necessary to keep
the thumb wearing the tip in full view of the audience for
any length of time, then keep the hand on the move. Finally,
a view of the tip head on renders it far less conspicuous than
in side view.

People expect a conjurer to be a conjurer always. The

expert, with a thumb tip in his pocket, may present a first-
class programme which will suit stage or drawing-room
conditions, and prove useful on after-dinner occasions or for
publicity purposes.
I hope these tricks will be as useful to you as they have
been to me.
THE T O R N AND RESTORED CARD TRICK

HIS trick is seen so often in so many different guises

that it is rapidly becoming a habit rather than a
mystery. I recently attended a magical show where
it was performed no less than six times, each different.
Basically, the effect is that a card is torn into several
pieces and becomes restored. Whether the restoration is
effected by means of a box, a large spider's web, a cigarette,
inside a balloon, etc., etc., the magical climax is the same :
the card is restored. In my opinion, these pieces of apparatus,
being themselves suspect, detract from the mystery.
This method does away with all forms of magical apparatus,
and the hands only are used for the whole trick. There is
therefore nothing to cause suspicion in the minds of the
audience. Once suspicion has been aroused the mystery is
lost, and the trick is merely thought ingenious.

E F F E C T .

A freely selected card is torn into eight pieces by a member

of the audience, who selects and retains one piece. The
performer shows both his hands empty back and front, and
rolls up his sleeves. By rubbing the remaining seven pieces
together they are restored, and the spectator verifies that his
kept piece fits exactly. On being challenged to restore the
whole card, the performer appears at first to be a little
confused, but eventually complies with the challenge.

METHOD.
Two large thumb tips, some conjurers' wax, obtainable
from magical dealers, and a forcing deck of cards are required.
Whether you use a forcing deck composed of all the same
card or one of the more sensational special decks depends
upon the sophistication of the audience. I find that a
" R and S " deck well repays the expense.
 To prepare the trick, a force card is folded in half and
refolded twice more. One of the sections, preferably one with
the index on it, is torn off. The folded card is then put
inside one of the thumb tips, and the extra piece secured to
the outside of the thumb tip opposite the nail with a small
dab of conjurers' wax. This is hidden behind the force deck,
so that it can be gained by the left thumb when the left hand
picks up the deck.
Another force card is similarly folded, but untorn, and put
inside the other thumb tip. This is placed in the right coat
pocket or somewhere where it can be readily gained by the
right thumb when required.

PRESENTATION.
Pick up the deck with the left hand, secretly securing the
thumb tip on the left thumb. Transfer the deck to the right
hand.
Ask a spectator to select a card, and make a show that
the card has been freely selected. Request him to tear the
card into eight pieces, and take these from him with your
right, hand between the thumb and first finger.
Bring the hands together and fan out the pieces between
the two thumbs and first fingers. This will bring the extra
piece on top of the torn pieces.
Offer the fanned-out pieces to the spectator, and ask him
to select one. As you approach him transfer the fanned-out
pieces to the right thumb and first finger, so that he does not
get a close view of your left thumb which is wearing the
thumb tip. There should be no great difficulty in making
him take the force piece, and convincing him that he had a
free choice, if you do this fairly quickly.
As soon as he has taken the force piece hold up your right
hand for all to see, and then count the pieces between the
thumbs and first fingers, ensuring that you count only seven.
Take the pieces again between the right thumb and first
finger. At the same time, finger-palm the thumb tip between
the left fingers and withdraw the restored card into the palm
with the left thumb. Emphasis can be taken off the left
hand by moving the right.
 Place the torn pieces into the left hand, really into the
thumb tip, and replace the left thumb into the thumb tip.
Show the right hand empty back and front.
Take the restored card with the fingers of the right hand ;
the audience will imagine that this is the pieces that they
have just seen you put into the left hand. Show the left
hand empty back and front.
If the thumb tip is too large to allow you to perform these
last moves, do the following instead. Bring the two hands
together with the fingers of each hand resting on top of each
other so that the finger and thumb tips of each hand are
touching. Keeping the hands moving all the time, perform
the following moves :—
(1) Place the torn pieces on the nail part of the gimmick,
holding them there with the right thumb.
(2) Withdraw the restored card from the thumb tip with
the right thumb, and slide it to the side opposite
the nail.
(3) Slide the torn pieces into the thumb tip with the right
thumb, and insert the left thumb again.
All this should be done in one continuous movement to
give the impression that you are rubbing the pieces together.
 Whichever method you adopt to gain possession of the
restored card, proceed to reveal the restoration. Do not
reveal the restored card all at once. The effect is better if
it is done by stages. The lines made by the folding give
added effect, too. Make a great show of your hands being
empty back and front.
The final restoration of the whole card was first forced
upon me at a troop concert by some of the boys who had
previously seen the effect performed with apparatus. The
challenge stumped me at first, but somehow I managed it, and
was rewarded with that hushed moment before the applause
that is every conjurer's dream. Since then I have always
planted a stooge in the audience to throw me the challenge.
His small voice is always joined by many others.
The second method of restoration is exactly the same as
the first. Whilst the challenge is coming there is ample
opportunity to drop the first thumb tip into a pocket, and
secure the other on the thumb from the right coat pocket.
The audience will imagine that the trick has ended after the
first restoration, and so there is no need for any deception
in gaining the other thumb tip ; it can be done quite openly
by removing a handkerchief from the pocket. The right
thumb is used for the restoration this time, and there is no
extra piece.
If your stooge is also an actor, you can have him write
his name right across the restored and retained piece. Your
miracle is then complete. Be careful not to do this if there
is the slightest chance of failure.
 PASSING THE SALT

HIS effect is fairly well known, but it usually- involves

the use of a faked salt-cellar, or of some piece of
apparatus or " gimmick " that prevents the performer
from showing his hands empty back and front. This method
is very simple, and can be performed anywhere with a borrowed
salt-cellar. It is ideal for stage or drawing room, or as an
after-dinner trick.
EFFECT.
With sleeves rolled up, and having shown his hands empty
back and front, the performer pours some salt from a salt-
cellar into his closed left fist. The right hand is then shown
empty again and fisted.
On opening the left fist the salt is found to have vanished,
and on opening the right fist the salt runs out. Both hands
are again shown empty back and front.

METHOD.
A large thumb tip is all that is required for this effect.
It is advisable to test how much salt can be retained in thumb
tip when it is worn. A small line can then be drawn to show
as a guide. The thumb tip should be hidden behind the salt-
cellar, so that it can be readily gained by the left thumb when
the left hand picks up the salt-cellar.

PRESENTATION.
Roll up your sleeves, and show your hands empty back
and front. Pick up the salt-cellar with the left hand, gaining
the thumb tip on your left thumb, and show the right hand
empty back and front. Transfer the salt-cellar to the right
hand and show the left hand empty back and front. Close
the left hand into a fist, and finger-palm the thumb tip with
the left fingers.
 Pour some salt from the cellar into the left fist, really
into the thumb tip, spilling a little on the top and front side
of the fist, as though by carelessness.
Casually wipe away the excess salt from the left fist with
the right hand, and when the fingers form a screen for the
right thumb, slip this into the thumb tip.
Much practice is required to do this in an offhand manner,
as though the spilling of the salt is no part of the trick but is
due to your carelessness.
Showing the right hand to be empty back and front, drop
it to your side as though it has nothing to conceal, and call

DROP RICHT WAND TO S I D E

1
attention to the left fist. Hold it up for all to see, and allow
a long enough pause for all to realise that the salt is un-
doubtedly in the fist, and that there is no way of escape for it.
Now call attention to the right hand. Show it again, and
close it into a fist. Hold both fists wide apart. Slowly
move your fingers to and fro, pretending that you are working
the salt from your left fist, across your shoulders to your right
fist, and follow the supposed movement with your eyes.
Carefully open your left fist as though to see whether the
salt has yet left it. Close it again, and show your right fist
empty once more. Repeat the process, and eventually work
the left fingers across the left hand until only the tips are
touching the palm. The audience will imagine that the salt
has been pushed up into this small area. At the same time
as the audience is diverted by this movement of the left hand,
finger-palm the thumb tip with the right fingers.
Slowly open the left fist, and show it empty back and
front.
Turn your eyes towards the right fist, pause for a short
moment, and then turn the fist over and allow the salt to
run out.
Slip the thumb tip on to the right thumb again at the
conclusion, and show your hands again empty back and front.
This trick is very effective if performed smoothly. Take
great care not to put the emphasis on the right thumb when
transferring the thumb tip from the left fist. This is the
most difficult move in the trick, and should be practised many
times before you attempt the trick in front of an audience.

A WRINKLE

GLIPPO PLUS

M ARDLY a trick in itself, this little use of the thumb

tip can make a good strong finish to an otherwise
dull routine. It is assumed that the reader knows
the modus operandi of " Clippo "—specially treated news-
paper strips which automatically " m e n d " themselves on
being trimmed after being cut in two.
Take a piece of newspaper and prepare a strip to resemble
the Clippo strip. Screw this into a wad and load it into a
thumb tip. Place this in your right coat pocket, and place a
pair of scissors beside it.
In performing your Clippo routine, every time you have
finished using the scissors return them to your right coat
pocket. On the last such return, secure the tip on your
thumb. Show the Clippo strip restored and roll it into a ball.
Switch this for the wadded strip in the thumb tip, and throw
out to the audience.
 MAGIC DOUGH

HIS effect is of a kind which experienced performers come

to love, for it combines the maximum of impressiveness
with the minimum of difficulty. Economy of means
is one of the most fascinating studies of conjuring.
EFFECT.
A ten shilling note is borrowed from a member of the
audience who is asked on to the stage to assist. He is then
asked to select one of six loaves, or (until times get better)
blown-up paper bags, and to hold it up for all to see.
The performer puts the ten shilling note inside an envelope,
and seals it. He places it in front of a lighted candle so that
its silhouette can be plainly seen through the envelope. The
envelope is then burnt, and the performer shows his hands
empty back and front.
The note is now found inside the selected loaf, or paper
bag, and verified by the owner as his own.
METHOD.
A thumb tip, six loaves or paper bags, a small envelope
of the type used by Banks for sixpences, with a piece of paper
inside to represent a ten shilling note folded three times, a
candle and a black-board and chalk are required. The loaves
should be placed on a tray, or if paper bags are used they
should be hung upon a rack with coloured string, on the left
side of the stage. Put the thumb tip inside the envelope.
PRESENTATION.
Ask for the loan of a ten shilling note, and invite the
lender on to the stage to assist. Have him record the number
of the note on the blackboard. Then ask him to select one
of the six loaves or paper bags, and hold it up. He should
be standing on your left.
Fold the note three times, and hold it with your right hand.
Take the envelope with your left hand, and place the note
inside the envelope, really into the thumb tip. Immediately
insert the right thumb into the thumb tip and withdraw it,
and seal up the envelope.
 Light the candle, and hold the envelope in front of it
so that the silhouette of the folded paper inside gives the
audience the impression that they can see the note.
" Accidentally" allow the flame to catch the envelope, and
allow this to burn completely. Show the hands empty back
and front.
Turn to the assistant, who is standing on your left, and
ask him to throw the loaf or paper bag over to you. Catch
it between both hands, fingers extended on either side, and
thumbs hidden behind it. Immediately insert the left thumb
into the back of the loaf or paper bag to make a hole, and then
push the right thumb and thumb tip into the hole.
Turn your wrists towards you so that the hole just made
in the loaf or paper bag is hidden underneath. This should
be done neatly in one continuous movement, and is indetect-
able.
Hold up the loaf or paper bag, and allow everybody to
see into your hands. Turn your wrists slightly away from
you, ar;d withdraw the note from the thumb tip with the left
hand, allowing the thumb tip to remain inside.
Immediately hand the note out for identification, and
casually put the loaf or paper bag aside.
 CHAPTER FOUR

MAKING MONEY GO A LONG WAY

E XPERTS will recognise in the following effect an adapta-

tion of the well-known " Lesson in Magic." The plot
is an assured laugh-getter; the apparent mishandling
of a borrowed article, to the supposed discomfiture of the
lender, is the basis of many a comedy situation.

EFFECT.
A pound note is borrowed from a member of the audience,
who keeps a record of its number. Offering to show how to
make money go a long way, the performer inadvertently
tears the note in two. He apologises that the trick has gone
wrong, and tries without success to borrow another note.
He then rubs the two pieces together, and the note is
restored. The owner verifies it as his.
Again offering to show how to make money go a long way,
the performer rubs the note and it becomes twice its former
size. But the owner is unwilling to take it back in this
condition, so the performer rubs it again. It now becomes
a Postal Order for one shilling.
Further apologies ! Finally, the performer- causes the
Order to become transformed to the original note, which is
immediately identified by the owner.

METHOD.
Two large thumb tips, some conjurers' wax, two Excelsior
clips, a large and an ordinary size stage pound note, and a
shilling postal order are required.
To prepare the trick, the ordinary note is perforated
roughly along the centre. It is folded four times, and attached
with a small dab of wax to the outside of the first thumb tip
opposite the nail. Attach this thumb tip with the Excelsior
 NOTE FOLDED —
\ AND ATTACHED BY WAX
V TO BACK OP THUMB T I P

T H U M B T|P F I X E D TO
I N S I D E O F R I G H T CUFF

clip to the inside of your right cuff, where it can readily be

secured by the left thumb when required.
Fold the large stage note five times, and the postal order
three times. One section of the postal order is then pasted
to the back of the large pound note, so that when it is turned
one way the postal order is seen, and when turned the other
way the large note is seen. This little packet is then "inserted
into the second thumb tip, and put where it can be readily
gained by the right thumb when required. A good place
would be just above the right trouser pocket, attached by
means of an Excelsior clip, where it would be hidden by the
coat.
PRESENTATION.
Borrow a pound note from a member of the audience,
remarking good-naturedly that this is the first time that you
have attempted the trick because never before has anybody
been so foolhardy as to lend you a pound note. Look at the
note in astonishment, as you say this.
Make certain that you do not cause any offence by those
words, or the next magician who plays to this audience will
not get their co-operation. It is very easy to get a cheap
laugh at the expense of somebody's embarrassment, and only
the worst type of entertainer resorts to such bad manners.
The purpose of your remarks here is to suggest to the audience
 that something may possibly go wrong with the trick. An
audience is always ready to laugh at a conjurer in difficulties,
and will laugh even more if the joke is later turned on them
by what our American friends call a " sucker effect."
Ask the owner of the note to record its number for future
identification. Roll up your sleeves, securing the first thumb
tip, with the ordinary stage note attached to it, with your
left fingers. Take the real note in the right hand, and
immediately transfer it to the left hand, really putting it
into the .thumb tip. Show your right hand empty back and
front.
Take the stage note with your right hand, which the
audience will take for the real one which they have just seen
you put into the left hand, and show the left hand empty
back and front.
Offer to show them all how to make money go a long way,
smooth the note carelessly with your fingers. After a little
play tear it at the perforations, and appear to be overcome
with confusion. Your ability as an actor will now determine
the character of the trick from this point. If you can make
the audience believe'that you have made a mistake they will
certainly sit up and take notice. If they believe that you are
acting, then they will take it as just another stage gag. You
are a magician, and must therefore be a better actor than most.
The method of restoring the note is exactly the same as
in the Torn and Restored Card trick. Having performed the
restoration, the thumb tips are exchanged as before, and the
real pound note is then exchanged for the little packet of the
large pound note with postal order attached.
Show the large pound note first, taking care to keep the
postal order at the back out of sight. Refold the note, turn
it round and reveal the postal order, this time taking care
not to show the large pound note. Finally, change this
packet for the real pound note, which is inside the thumb tip.
Hand it out for inspection immediately, and show the
hands empty back and front.
 CHAPTER FIVE

CIGARETTE MAGIC

ERE, a series of minor effects leads up to a vanish of a

cigarette. The combination makes a very pleasing
routine, thoroughly audience-tested and effective.

EFFECT.
The performer having shown his hands empty, he pretends
to take a tobacco-pouch and a packet of cigarette-papers
from his pocket. With these imaginary materials he proceeds
to roll a cigarette in mime. Still, miming, he places the
cigarette in his mouth, catches an invisible match in the air
and strikes this on the sole of bis shoe. There is a splutter
and a flame, and he has a lighted match in his hand.
He brings this lighted match before his mouth, when there
appears between his lips a real cigarette, which he lights.
Taking the cigarette, he places it, glowing end first, in a
borrowed handkerchief. This promptly catches fire. He
extinguishes the flames, removes the cigarette from the
handkerchief, and immediately shakes this out to prove that
it is undamaged.
The performer again places the cigarette in the handker-
chief, causing it to smoke. He stubs it out with his fingers.
On shaking the handkerchief, it is again found to be unharmed.
What is more, the cigarette has now disappeared. The
handkerchief may now be examined.

METHOD.
A small metal thumb tip, some conjurers' wax, a cigarette-
paper impregnated with saltpetre, a needle, a cigarette, a
match and an ashtray are required. Put the impregnated
cigarette-paper inside the thumb tip, and place this in the
right coat pocket with the ashtray. Pin the cigarette with
the needle to the back of the left coat lapel. The match is
stuck to the instep of the left shoe with a dab of conjurer's
wax.

^ CIGARETTE

F I X E D TO B A C K

O F L A P E L WITH

A NEEDL-E

PRESENTATION.
Roll the cigarette in mime, as just stated, pretending to
place it between the lips at the conclusion. During this play
it is important that the audience see that your hands are
really empty.
Pretend to catch a match in the air, and bend down
quickly, as though to strike the imaginary match on your
left instep ; take the match which is attached to the instep
and strike it against the shoe. At the same time the left
hand goes to the back of the left coat lapel, where it finger-
palms the cigarette. This movement is quite natural.
Bring both hands to the front of the mouth, so that the
lighted match is seen but the cigarette still hidden. Raise
the head slightly, and light the cigarette for all to see. These
moves should be done smoothly and in one continuous action.
After a few puffs, remove the ashtray from your pocket
and knock the ash into it. Replace the ashtray, securing the
thumb tip on your right thumb before removing the hand
from the pocket.
Now borrow a handkerchief (a large one is preferable) and
drape it over the left fist, which is held thumb upwards.
With the right thumb press the handkerchief down into the
fist, making a well which is encircled by the left thumb and
forefinger. The thumb tip is left in the well. The recess
should be made casually, and it may be thought preferable
to have the right fingers assist in making it.
Place the burning cigarette into the recess, really into the
thumb tip. When the impregnated cigarette-paper has
caught fire extinguish the flames with the right fingers,
remove the cigarette with the right first and second fingers,
and slip the right thumb into the thumb tip again.
Shake out the handkerchief to show it undamaged.
Drape the handkerchief over the left wrist again, and place
the cigarette into the recess, really into the thumb tip, as
before, and allow it to smoke a little, so that the audience
will get the impression that the handkerchief will again catch
fire. Stub it out with the right fingers and thumb.
When the thumb stubs it, insert the thumb into the thumb
tip again, and withdraw it. Wrap up the handkerchief as
though you are wrapping the cigarette in it.
Shake it out to show it undamaged and the cigarette to
have disappeared. Hand it out for examination immediately,
and show your hands empty back and front.
This is a version of a very well-known trick. To get the
best effect you should ask somebody for the loan of a handker-
chief that they prize. As you receive it thank the lender,
and promise him that you will do it no—good. The burning
of the handkerchief should be taken by the audience as a
mistake, and a " sucker " effect is thereby introduced.
 CHAPTER SIX

PENCIL MAGIC

T HIS effect serves as an excellent example of the versatility

of the thumb tip principle. Effects using the gimmick
with cards, salt, money, cigarettes, are legion. Here
it is used with a pencil.

EFFECT.
The performer causes a pencil to cling mysteriously to his
finger-tips, and to rise up through his fist. Eventually it
is covered with a handkerchief, the outline being clearly
visible through the fabric. Yet, in an instant, it disappears.
It is then produced from a pocket, and both pencil and
handkerchief are handed out for examination.

METHOD.
A thumb tip, a length of black silk thread, a pencil, a
faked shell pencil and a handkerchief are required. The fake
shell pencil has only the ends genuine, the rest being made
of paper.
To make it, procure two black pencils and a quantity of
stiff black glossy paper. Paste the inside of a strip of the
paper and roll it about four times around one of the pencils.
This gives you a pencil slightly larger in diameter than the
other, and it is used as a last from which to make the shells.
The shells themselves are made by pasting the outside of a
strip of paper and rolling it around the pencil last. Be
careful not to paste the inside or the shell will not come off.
As a guide to the required length of feke pencil, it must be
able to be held by the ends between the outstretched thumb
and first finger of either hand.
22
 TO MAKE THE LAST

PROM WHICH T H E
SHELLS ARE MADE

Sharpen the other pencil, and cut off this end so that it is
approximately half an inch long. Cut off another piece
about a quarter of an inch long. Glue these pieces to the
inside of the shell firmly. They should be a tight fit.
Cut the other pencil the same size as the feke one, and put
it in any pocket. Attach a foot of black silk thread to the
end of the shell pencil, which is then attached to the left coat
lapel. Place the pencil inside the breast pocket.
Place the thumb tip inside the left coat pocket with the
handkerchief.
PRESENTATION.
Take the shell pencil from your breast pocket with the
right hand. The thread should pass between the fingers
from the back. By placing a finger either side of the thread,
which will be invisible at a few feet, and tautening it, the
pencil can be made to cling to the finger-tips.
Now form the left hand into a fist, and drop the pencil
through the top, the end with the thread attached first,
remarking that this is commonly known as " slipping down."
Hold it at the bottom of the fist with the right hand.
Draw the left hand slightly away from the body, and the
 GUIDE TO R E Q U I R E D LENGTH
OF FEKED PENCIL

REAL
PENCIL

FEKCD PENCIL
SHOWING SHORT
PIECES OF REAL
PENCIL INSERTED
INTO ENDS OF
SHELL
pencil will mysteriously rise through the left fist. Remark
that this is commonly known as " slipping up."
Finally break the thread by pulling sharply.
Remove the handkerchief from the left coat pocket with
the left hand (securing the thumb tip on the left thumb),
drape it over the left hand, and under cover of it finger-palm
the thumb tip. If preferred, the thumb tip can be finger-
palmed when the left hand is in the pocket getting the hand-
kerchief, but this is not so clean in my opinion.
Hold the pencil between the thumb and first finger of the
right hand outstretched, so as to give the impression of how it
will be held when under the handkerchief. Transfer it to the
left hand under the handkerchief where it is similarly held
between the thumb at the blunt end, whilst the sharpened
end is inside the thumb tip ; it is held firm by pressure from
the left thumb pressing it against the end of the thumb tip
inside.
It is advisable to press the thumb tip slightly down so
that it is parallel with the pencil, thus making a continuous
line under the handkerchief from the audience's point of
view. Seeing the outline of a pencil, they will imagine that
everything is all fair.
To vanish the pencil, push the blunt end hard with the
left thumb, which will cause the shell to telescope into the
thumb tip. Complete the movement by inserting your left
thumb into the thumb tip.
Immediately shake out the handkerchief, show it empty,
show your hands empty back and front, and produce the
real pencil from your pocket.
Hand both the handkerchief and pencil out for examina-
tion.

o==e)
 CHAPTER SEVEN

SENDING MONEY BY POST

ANY tricks with postal orders require that the serial

number of one shall be faked to make it coincide with
that of a duplicate. Performers who are not confident
of being able to do this convincingly will find in the following
routine a subtle method of handling which makes this practice
unnecessary, and which requires no memory-work on his part.

EFFECT.
A member of the audience examines two envelopes and
sets them on stands at either side of the stage. Then he
is handed a postal order by the performer, who requests him
to tear off the counterfoil and write its serial number on the
blackboard. The performer then puts the postal order in
one of the envelopes, which is sealed.
He sets fire to this envelope, and whilst it is still burning
he verifies that the second envelope is still empty, and seals it.
When the first envelope has been completely burnt, the
postal order is found none the worse in the second envelope.
The assistant takes order and counterfoil to examine them at
his leisure.
METHOD.
A small thumb tip, two sixpenny postal orders numbered
consecutively, two ordinary envelopes, two envelope stands, a
blackboard, a piece of chalk and a box of matches are required.
The two postal orders should be bought at the same time
so that only their last figures will differ. To prepare them,
remove and throw away the counterfoil of the first, and cut
the counterfoil from the second just to the right of the per-
forations. Stick this counterfoil carefully to the first postal
order so that they match exactly and appear as one genuine
postal order. If this is done neatly it should bear very close
scrutiny.
 You now have two postal orders, the first with the second's
counterfoil stuck to it, and the second with no counterfoil
at all. Insert the second postal order that has no counterfoil
in the thumb tip, and place it in the right trousers pocket
with the box of-matches, where it can be gained by the right
thumb when required.

PRESENTATION.
Ask a member of the audience on to the stage to assist.
Give him the two envelopes to examine, and ask him to hand
them out to the audience for further examination. On
receiving them back, ask him to place them on their respective
stands, in full view of the audience.
Show the postal order and ask your helper to tear off the
counterfoil. Leave this with him and recover the order.
Handing him a piece of chalk, you ask him to write the serial
number of the order on the blackboard. Call out the number
of the order, miscalling the last figure so that it tallies with
his counterfoil. He may thus be allowed to check the number
given against that on his counterfoil with perfect safety.
Now give him the postal order, and ask him to put it into
the first envelope, seal it and hold it in his hand. Take the
matches from your right trousers pocket with your right hand
and set the envelope alight whilst he still holds it. This
should cause some amusement with the audience.
On replacing the matches in your pocket, secure the thumb
tip on your right thumb before withdrawing the hand from
the pocket. Take the burning envelope from the assistant,
and ask him to verify that the second envelope is still empty,
seal it and place it back on its stand.
When the first envelope has burnt out, take the second
from its stand between the left thumb at the back and the
fingers in front. Place the right thumb at the back of the
envelope, and the right fingers in front. Slit it open with the
right first finger, at the same time removing the thumb tip,
gripping it with the left fingers in front of the envelope and
the left thumb at the back.
Withdraw the postal order from the thumb tip, making it
look as though it is coming from the envelope, and insert the
left thumb into the thumb tip at the conclusion.
 TAKE ENVELOPE IN
BOTH HANDS THEN
SLIT OPEN WITH RIGHT
_ POCEFINf.FC

THUMB
TIP -
GRIP THUMB
T I P BETWEEN
LEFT THUMB
AND FOREFINGER

Handing the postal order to the assistant, ask him to

identify it and read out the number so that all may check
with the number on the board that it is the same postal order.
Show your hands empty back and front, and allow the
spectator to retain the order in payment of his services.
This is a most effective stage presentation which I have
used often when staying in the country far away from my
props, and have suddenly been asked to entertain some local
gathering. All that one requires is a thumb tip and a village
shop where one can buy postal orders.
I have heard the audience afterwards swearing that the
assistant examined the postal order minutely before putting
it into the envelope. The fact that he examined it quickly
and kept the counterfoil which he himself tore off is sufficient
to cause this assumption. Handing the second postal order
for him to examine immediately it is withdrawn from the
second envelope is enough for people to imagine that he
himself took the postal order out of the envelope. Try it and
see for yourself!
 CHAPTER EIGHT.

THE HYDROSTATIC POUND NOTE

lr\ pjHIS is an amusing effect for inclusion into a trick where

a pound note is used, but can also be performed as a
trick in, say, a bar with a glass of whisky, etc. Best
done fairly quickly; it is sure to raise a big laugh.
EFFECT.
The performer rolls a borrowed pound note into a cylinder.
Pouring liquid into it, he uses it as a drinking glass. On
unrolling the note it is examined and found to be dry. The
hands are shown empty back and front.

METHOD.
A large thumb tip and a small glass full of coloured liquid,
such as milk, are required. The glass should be tapered at
the stem so that when only a small amount of liquid is poured
away the difference in level is most_ apparent. If the glass
is too large the audience may suspect that you did not pour
any of the liquid into the cylinder, as the difference in level
would be so negligible. Hide the thumb tip behind the glass
so that it can be secured by the left thumb when the left
hand picks up the glass.

PRESENTATION.
Borrow a pound note from a member of the audience, and
pick up the glass of liquid, securing the thumb tip on the left
thumb.
Wrap the note into a cylinder using the left thumb to
start it, and leave the thumb tip behind in the cylinder.
Hold the cylinder in the right hand, and pour some of the
liquid into it, holding the glass a few inches above the cylinder,
so that all may see the liquid actually entering it.
 Pour the liquid into the mouth in a similar manner, or,
if the liquid is undrinkable, pour it back into the glass.
Secretly turn the cylinder over, insert the left thumb into
the thumb tip, and unroll it. Hand both the pound note and
the glass to the audience for examination immediately, and
show the hands empty back and front.
 CHAPTER NINE.

T H U M B P E N E T R A T I O N OF A
HANDKERCHIEF

HIS is one of the few effects in which the thumb tip is

1 actually on display. The conjurer should derive some

private amusement from it if only for this reason.

EFFECT.
The performer pushes his right thumb through a handker-
chief which is suspended stretched between two stands. At
the close, the handkerchief is shown to be quite undamaged.

METHOD.
A thumb tip, a piece of cord about two feet long (preferably
coloured), two stands on which to suspend the cord, and two
Excelsior clips are required.
The cord is attached at either end of the stands, which
are moved apart to make the cord tight. The Excelsior clips
are attached to the centre of the cord with their sharp hooks
a handkerchief's width apart.
Ordinary cord as sold by the dealers can easily be dyed
any desired colour. It makes a nice change from the ever-
lasting white.
PRESENTATION,
Secure the thumb tip on the left thumb. Borrow a
handkerchief, which should be fairly large, and clip it on to
the cord.
Stand so that your left side faces the audience, and put
your left hand in front and right hand behind the handkerchief.
Show your left hand empty, and raise your right hand above
the handkerchief so that all may see that it is really behind it.
During this, finger-palm the thumb tip with the left fingers.
 Make an indent in the middle of the handkerchief with
your right thumb, and with your left hand pretend to rub the
right thumb through the handkerchief, and slip the thumb
tip on to the right thumb through the handkerchief.

Remove the left hand, and allow the audience to see the
thumb tip, which they will take to be the right thumb.
Waggle the tip slightly so that they do not get a view of it
stationary, and let them see it chiefly head on.
Replace the left hand over the thumb tip again, pretend to
rub it back through the handkerchief, and secure the thumb
tip on the left thumb once again.
Remove the left hand and show it empty back and front;
remove the handkerchief from the stand, and hand it out
immediately for examination.
 THE VANISHING AND REAPPEARING
SILK

T7T is a strange but incontrovertible fact that many magical

effects gain by repetition. The magical linking together
of two solid rings would be only a very mild effect, but a
good routine with the Linking Rings is one of the finest
effects in magic.
This effect, too, grows with repetition, especially with
young audiences. Variety is provided by the different places
in which the silk is made to reappear.

EFFECT.
A small silk vanishes from the performer's hands and
reappears in his pocket, which was previously shown empty.
Vanished once more, the silk reappears in a spectator's pocket.
After a third disappearance, it reappears as a large silk
square. The hands are clearly empty throughout.

METHOD.
A large thumb tip, a small silk handkerchief and a large
silk square are required. The large silk square is rolled up
into a ball, and placed in the top recess of the right trousers
pocket, so that it will remain hidden even when the pocket
is turned out for examination. The small silk and thumb
tip are placed in the breast pocket, so that the right thumb
can gain the thumb tip when the right hand removes the
handkerchief from the pocket at the beginning of the trick.
 PRESENTATION.
Roll up your sleeves and show your hands empty back and
front. Take the small silk from the breast pocket, and secure
the thumb tip on your right thumb. Show the pocket empty.
Hold the handkerchief at one corner ; this will cause it
to look larger than it really is. The size of the silk depends
upon the size of the thumb tip. Do not be too discouraged
if you have to use a very small silk. To the audience the
effect is the same if you use an eighteen-inch, twelve-inch or
six-inch silk.
Push the silk into the left fist, using all the fingers in turn,
starting with the little finger and ending with the thumb,
and then all the way back to the little finger again. Slowly
open the left fist to see if the silk has yet vanished. Finding
it is still there, show it for all to see.
This play is designed to take the emphasis off the thumb,
and to dispel any theory that the silk will at any time be
pushed into a receptacle in the left fist. From this point the
silk will be pushed into the thumb tip in the left fist, and the
thumb which pushes it in will wear the thumb tip. It is
therefore most important that the vital moves in the trick
are not revealed.
Having shown the silk to be still in the left fist, take it with
the right hand at the same time transferring the thumb tip
from the right thumb to the left hand, where it is finger-
palmed. This movement should be done smoothly and
continuously, and is indetectable.
Immediately push the silk into the left fist as before,
though this time really push it into the thumb tip. The silk
should be inside the thumb tip completely by the time the
right thumb pushes it, and secretly secures the tip. Continue
pretending to push it into the fist with the other fingers as
before, ending with the little finger, so that the emphasis is
taken off the right thumb.
Casually show the right hand to be empty back and front,
and drop it to your side as in " Passing the Salt," standing
with your right side to the audience. Now, looking at the
left fist, hold it up for all to see, and turn it to face the front.
Move the fingers as in " Passing the Salt," ending up with
only the tips touching the palm. Then open the left fist
to show that the silk has vanished.
Casually show the right hand empty once more, and put
the right thumb and first finger into the breast pocket,
followed by the left thumb and first finger. The thumb
tip is removed inside the pocket, and held with the right
thumb and first finger, whilst the left thumb and first finger
remove the silk. The right thumb again secures the thumb
tip, and the pocket is turned out for all to see that it is empty.
Invite a member of the audience on to the stage, and ask -
him to examine the silk carefully so that he will be able to
recognise it again. He may tie a small knot in it if he likes.
Ask him, further, to empty any pocket of his clothing that he
chooses.
Vanish the silk, as before, but omit the play. The need
for this piece of deception has now gone, and to repeat this
play would tend to put the emphasis in the other direction.
This time cause the silk to reappear from the spectator's
pocket, and ask him to identify it.
Show your hands empty back and front, and dismiss the
spectator with your thanks.
Now turn out your right trousers pocket to show it empty,
taking care that the large silk square is hidden in the top
recess. Turn the pocket in again.
Vanish the silk as before, and this time place the right
hand in the right trousers pocket at the conclusion. With-
draw the square, and turn the pocket out to show it empty.
Drop the thumb tip inside the pocket as you turn it in again.
 CHAPTER ELEVEN.

SILK AND SOUP PLATE

T HIS effect is so old that it will be new to most present-

day audiences. It was performed by such an old
master as Charles Bertram, who vanished two handker-
chiefs with an orthodox vanisher, and secured the reproduc-
tion of the silks by means of a faked newspaper.
The method given here is simple and effective. Only one
handkerchief, however, is vanished, and its size is limited by
the size of the thumb tip.
EFFECT.
An empty soup plate is inverted on a sheet of newspaper.
A silk handkerchief vanishes from the hands of the performer
and is found again, a moment later, under the soup plate.
It is a spectator who finds it there, and he may examine silk,
plate and newspaper to his heart's content.
METHOD.
A large thumb tip, two identical silk handkerchiefs, a
soup plate and a sheet of newspaper are required. One
handkerchief, tightly rolled, is hidden behind the back rim
of the soup plate, and the other is placed inside the breast
pocket with the thumb tip.
PRESENTATION.
Show the sheet of newspaper, and lay it on a table or a
chair, remarking that this is done to show that there is no
communication with anyone below.
Take the soup plate with the left hand, palm facing the
audience, the fingers behind the rim concealing the handker-
chief, and thumb in front. Show the front of the soup plate
to the audience.
Take the bottom edge with the right fingers, and without
moving the left hand turn the soup plate over, and show
the back to the audience. This turn must be made casually,
but fairly quickly so that the audience does not get a glimpse
of the handkerchief concealed by the left fingers.
 LTPT HAND REMAINS
STATIONARY AS RIGHT
HAND TURNS
PLATE OVER,

As soon as the turn has been made, grip the top of the
plate with the left fingers behind it, and thumb in front. This
will bring the handkerchief to the centre of the front of the
plate, which is now facing towards you and away from the
audience.
Place the plate face-down on the newspaper.
This move will require much practice if it is to be done
smoothly. Try it first, without a handkerchief, in front of a
mirror. Then, with the handkerchief concealed, try to
duplicate the moves exactly.
Now take the duplicate silk from the breast pocket with
the right hand, securing the thumb tip on the right thumb.
Vanish the handkerchief as in the " Vanishing and Re-
appearing " handkerchief trick, pretending to throw the silk
towards the soup plate ; show your hands empty back and
front.
Allow a member of the audience to find the silk under the
soup plate, and hand the plate and sheet of newspaper out for
examination.
 CIGARETTE AND RIBBONS

T HIS is a colourful opener and closer to a cigarette

routine. Though it is rather brief, it may be performed
as a trick in itself.

EFFECT.
A gaily coloured set of ribbons changes into a cigarette.
After performing several sleights with the cigarette, it is
thrust alight into the left fist. The fist opened, it is found
that the cigarette has disappeared, and the ribbons are again
found in its place.

METHOD.
Required are two identical sets of ribbons about nine
inches long, a thumb tip with a small hole drilled through the
top, a piece of elastic, a safety and an ordinary pin, a box of
matches, and a cigarette.
All the ribbons in each set are joined together at one end.
The first set is attached, by the sewn end, to a length of
elastic, the other end of which is attached to the back of the
waistcoat, just below the neck, with the safety pin. The
ribbons are passed down the left sleeve, rolled around the
cigarette, and secured to the inside of the sleeve, just above
the cuff, with the ordinary pin. The exact length of the
elastic required depends on the performer's height; what
matters is that the elastic should be fully stretched when the
ribbons are held by their sewn ends in the left hand.
The second set of ribbons are attached at their sewn
ends to the thumb tip, with a thread which passes through
the hole in the top of the tip and is secured inside with a small
bead. The ribbons are wound around the tip, which is then
placed, with the box of matches, in the right trousers pocket.
RIBBONS SAFETY 4 I I I I
WOUND AJ>in % S y 1 9 f
/
ROUND
CIGARETTE
AND
ATTACHED^
TOCUFP

7 ,

o J EACH SET OP RIBBONS SEWN

T O G E T H E R AT O N E END

THREAD PASSES
THROUGH HOLE
IN T H U M B T I P
AND HELD INSIDE
8>Y S M A L L B E A D

RIBBONS
THEN W O U N D
ROUND
THUMB TIP
 PRESENTATION.
Secure the roll of ribbons with the right hand, and unroll
them into the left hand, finger-palming the cigarette with the
left fingers. Ensure that the cigarette is well 'clear, and wave
the ribbons for all to see. With a quick upward movement
of the left hand release the ribbons which will fly up your
left sleeve. Immediately show the cigarette, and commence
your cigarette routine.
At the conclusion, remove the box of matches from the
right trousers pocket, and light the cigarette. On replacing
the box into the pocket finger-palm the thumb tip and set of
ribbons with the open end to the top.
Thrust the lighted cigarette into the right fist, really into
the thumb tip. Give a cry of pain, insert the left thumb into
the fist as though to stub it out, and draw the hands apart
to reveal the ribbons.
Allow the audience to see into your hands to be able to
realise that the cigarette has vanished, but take care that they
do not see the sewn end of the ribbons which is attached to
the thumb tip. Lay the ribbons aside, and with them the
thumb tip, before proceeding with your next trick.

(£>=^e)
 MAGICAL SURGERY

T HIS is a particularly good publicity trick. The first

part is so obviously free from deception that it leads
u p gently to the more preposterous second part. I
performed it before some doctors once. They were very
guarded in their observations, and said simply that it was a
" medical impossibility."
Unless you feel that you are capable of acting as though
the whole thing was genuine, better not perform it at all;
as " just another stage gag," it is worthless.

EFFECT.
Pins are examined and driven into the performer's knee
with a mallet by a member of the audience. This causes no
pain or ill effects to the performer. Next a long needle and
length of wool are passed right through the performer's
thumb. At the conclusion his thumb is examined, and found
to be uninjured.

METHOD.
The first part of the trick is well known to conjurers the
world over, though few have the taste to try it out for them-
selves. The pins are actually driven into the knee. Good,
clean short pins are required, and a bottle of antiseptic to
prevent any germs which may enter the tiny wound from
harming you. A vicious-looking mallet is also required to
give added effect.
The pins are driven in just above the knee. Take care not
to drive them into a vein, as some slight bleeding may occur.
The whole operation is, surprisingly enough, completely
painless.
 For the second part of the trick a small thumb tip with a
hole bored right through its centre, and a handkerchief are
required. This small hole may throw a shadow on to the
thumb which will be seen at a distance. It can.be neutralised
by painting the inside of the tip around the area of the hole
with white paint, so that the edges of the hole are whitened.
Put the tip in the breast pocket with the handkerchief
so that it can be gained by the left thumb when required.

PRESENTATION
Give the pins to the audience for examination. On
receiving them back, dip them into the bottle of antiseptic.
Sometimes the pins are produced already sterilised. In my
opinion, this is a mistake, as they cannot be examined until
after the trick, and the audience may imagine them to be made
of rubber whilst they are being driven into the knee. The
sterilising of them before the audience gives an added air of
genuineness.
Place them on the trousers leg just above the knee, so
that they stick into the cloth, and invite a member of the
audience to drive them into the knee with the mallet. Be
ready to let your knee give way a little if the blow is too hard.
 At the conclusion allow him to extract them, and hand
them out to the audience for examination.
Now hand out the needle and wool for examination. On
receiving them back, thread the wool through the needle and
dip them into the bottle of antiseptic. This is only a blind,
as they are not really pushed through the t h u m b !
Take the handkerchief from your breast pocket with your
left hand, securing the thumb tip on the thumb, and transfer
the handkerchief to the right hand. Drape the handkerchief
over the left thumb, at the same time moving the thumb
sufficiently far out of the thumb tip so that the hole is clear
of the thumb itself. Grip the bottom edges of the thumb
tip with the left thumb and fingers.
The audience should get the impression that they see the
shape of the left thumb through the handkerchief.
Pretend to have great difficulty in making the needle go
through the thumb, and make a show of controlling intense
pain. Finally pass the wool slowly right through the thumb.
As you remove the handkerchief, slip the left thumb into the
thumb tip.
Show the needle, wool and handkerchief for examination,
and show your hands empty back and front.
Whilst the handkerchief, etc., are being examined, seize an
opportunity to get rid of the thumb tip, and allow your thumb
to be examined.
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