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Arthur Buckley - The Triple Climax PDF
Arthur Buckley - The Triple Climax PDF
NUMBER ONE
T H E TKIPLE CLIMAX
By A R T H U R H . B U C K L E Y
Illustrated by
H A R L A N E. T A R B E L L
Edited by
GUS MOFORD
Published by
August, 1921
L B
* * J « ' S
W I L L ALMA
M.I.M.C. (LONDON)
ALMA CONJURING mLLECTlON'.'
INumber O n e — A I nple Climax
EFFECT, BRIEF PRESENTATION AND PATTER,
T h e p e r f o r m e r requests two g e n t l e m e n f r o m t h e a u d i e n c e to t a k e p a r t in t h i s
experiment.
NOTE—In the above description of the effect, presentation and patter, we have
aiven the reader more detail than is ordinarily used, because it is to be again studied
by the reader after you have learned the fundamentals of this problem.
Sleights Necessary to Performing the Triple Climax
I n p e r f o r m i n g t h i s effect six sleights a r e e m p l o y e d :
TIIE F L E S H GRIP"
EUCIvLEY'S BOTTOM SHIFT
!
THE TWO-HANDED PASS
T H E SLAP SHIFT
THE TOP CHANGE •
. T H E BOTTOM PALM
T H E F L E S H G I U P is used to r e t a i n t h e location of a n o t e d c a r d , u n t i l t h e
o p p o r t u n i t y aiises f o r t h e s h i f t to be employed.
T H E T W O - I I A N D E D P A S S , in t h i s effect, is e m p l o y e d to convey t h r e e c a r d s
f r o m t h e b o t t o m to t h e t o p of t h e pack.
' T H E S L A P S H I F T is an excellent m e t h o d of s h i f t i n g t h e b o t t o m c a r d , of
several cards, held in t h e l e f t h a n d , to t h e top p o s i t i o n ; u n d e r p r e t e x t of s l a p p i n g
t h e cards w i t h t h e r i g h t h a n d .
T H E B O T T O M P A L M , in t h i s effect, is employed to t r a n s f e r t h e b o t t o m c a r d
of a pack ( h e l d in t h e l e f t h a n d ) t o t h e p a l m of t h e r i g h t h a n d .
FIG. I. F IG.Z
P l a c e c a r d s in p o s i t i o n as t a u g h t in t h e "flesh g r i p . " N o w b r i n g t h e r i g h t
h a n d over p a c k , as shown i n F i g u r e 3, w i t h t h e i n d e x linger of t h e r i g h t h a n d at
t h e e n d of pack a n d n e a r t h e i n d e x finger of
t h e l e f t h a n d . T h e t h u m b of t h e r i g h t h a n d
occupies a position a t t h e o t h e r e n d of t h e pack.
FiG.4 FIG.
THE SLAP SHIFT
T h e slap s h i f t was devised f o r use in t h i s effect. I t is t h e m o s t p r a c t i c a l
m e t h o d f o r secretly b r i n g i n g t h e b o t t o m c a r d , of several c a r d s h e l d in t h e l e f t
h a n d , to t h e top. T h e s p e c t a t o r deals t h e cards, face d o w n , on t h e p e r f o r m e r ' s l e f t
h a n d , which is held so as to receive t h e cards i n t h e position shown in F i g u r e G.
W i t h his r i g h t h a n d t h e p e r f o r m e r slaps t h e back of each card as i t is placed in h i s
h a n d . ( S e e F i g u r e 7.)
FIG. 7
slapped as before, b u t this t i m e t h e c a r d 19 g r i p p e d by t h e i r g h t h a n d a t its exposed
c o r n e r s ; t h e r i g h t h a n d is a g a i n raised to slap t h e p a c k , conveying t h e c a r d to t h e
top. ( S e e F i g u r e s 7, 8 a n d 9.)
FIG.9
FIG. 6
As t h e p e r f o r m e r s t a n d s w i t h h i s r i g h t side to t h e a u d i e n c e t h e c a r d is a t 110
t i m e exposed.
T h e u n d e r l y i n g p r i n c i p l e t h a t p e r m i t s t h e use of t h i s sleight w i t h o u t d e t e c t i o n
is of g r e a t i m p o r t a n c e . T h e combined m o v e m e n t s t o g e t h e r w i t h t h e w o r d s spoken
( l e a d i n g to t h e s u b s t i t u t i o n of t h e c a r d s ) should be n a t u r a l , c a r e f u l l y p l a n n e d a n d
rehearsed in a d v a n c e of t h e p e r f o r m a n c e .
T h e m o v e m e n t s , l e a d i n g to or f o l l o w i n g t h e s u b s t i t u t i o n , a r e susceptible t o
several v a r i a t i o n s , d e p e n d i n g u p o n t h e effect in w h i c h it is u s e d .
W e will describe t h e basic p r i n c i p l e , t h e specific v a r i a t i o n used in t h i s effect,
a n d follow t h i s w i t h a n e x a m p l e t h a t is i l l u s t r a t e d by t h e d r a w i n g s i n F i g u r e 10.
Example
( A s a p p l i e d t o t h i s effect) j
K e m e m b e r t h a t A is s t a n d i n g a t t h e p e r f o r m e r ' s l e f t a n d B a t his r i g h t .
F i g u r e 1 0 - X shows t h e position of t h e h a n d s while t h e p e r f o r m e r is a d d r e s s i n g
A p r e v i o u s to t u r n i n g t o w a r d s B . ( T h i s t u r n f r o m A t o B is u s e d as a s u b t e r f u g e
to cloak t h e e x c h a n g e of A ' s c a r d f o r B ' s c a r d . )
As t h e p e r f o r m e r t u r n s , t h e e x t e n d e d r i g h t h a n d is b r o u g h t n a t u r a l l y d o w n
(see d o t t e d lines a n d a r r o w s in F i g u r e 1 0 - X ) a n d while crossing t h e body i t sweeps
past t h e pack, l e a v i n g A ' s c a r d thereon, a n d c a r r i e s B ' s c a r d (see F i g u r e 1 0 - Y )
away between the first a n d second fingers oi t h e r i g h t h a n d , c o n t i n u i n g t h e sweep
of t h e a r m t o w a r d s B . ( S e e d o t t e d lines a n d a r r o w s in F i g u r e 10-Z.)
T H E BOTTOM PALM
T H E TWO-HAND PASS
T h e t w o - h a n d e d p a s s or s h i f t is probably t h e best k n o w n , m o s t u s e f u l a n d
m o s t difficult s l e i g h t employed by t h e c a r d c o n j u r e r . I t m u s t be m a s t e r e d b e f o r e
yon can p e r f o r m t h e " T r i p l e C l i m a x . "
T h e u p p e r p o r t i o n of t h e p a c k , t i g h t l y c l a m p e d by t h e second, t h i r d a n d
f o u r t h fingers (see F i g u r e 3 - A ) is g r a d u a l l y d r a w n over t h e u n d e r p o r t i o n u n t i l
i n a v e r t i c a l p o s i t i o n . W h i l e t h i s m o v e m e n t is in process of e x e c u t i o n t h e l o w e r ,
p o r t i o n is being r a i s e d by t h e r i g h t h a n d (see F i g u r e 4 - A ) u n t i l h i g h e n o u g h (see
F i g u r e 5 - A ) t o p e r m i t t h e vertical p o r t i o n of t h e pack to slide u n d e r n e a t h t h e
\X \ V r^
2-A
Hake sure that yen have mastered the various moves and sleights so that
you can use them in an undetectable manner; then refer to