Mr. Widdle’s thumb fits perfectly into this finely made box, where the audience can plainly see there is nothing else inside it. The box is then rotated one-hundred and eighty degrees, whereupon a sword is removed from a decorative stand and thrust into a hole in the side of the box. Eight more swords are plunged into the box at different angles. The thumb is clearly in danger. However, when the box is rotated again to show the interior, all the audience can see are the swords crisscrossed inside the box. The thumb has apparently vanished! The box is rotated again, the swords removed, and the thumb is seen completely unharmed.
As astonishing as this effect is, it seems to lack a certain something. For starters, only one thumb is used. Why should one thumb be mutilated and not the other? And why should I decide such a fate? The solution is that I don’t have to decide, as I will mutilate both of Mr. Widdle’s thumbs!
After the first thumb is tortured inside the sword box, the second thumb will be put inside a guillotine. This fine and imposing prop, of which I already own, will pair up very nicely with the sword box to create a balanced routine. Two thumbs - two mutilations!. As Mr. Widdle’s hands are already employed crucially and significantly in the show, this “All Thumbs” routine would make perfect sense. Perhaps it would allow the audience an opportunity to cheer on these two thumbs, as if they were tag-team wrestlers fighting for their very lives.
As any ostensible readers of this diary may recall, my guillotine is used in a Marie Antionette routine along with a “Glorpie” scarf for reanimation. While that routine continues to be reworked, my guillotine can shine again in this new piece. It is certainly one of the finest models of “finger choppers” I have come across. I think I will chop a carrot or some such vegetable with the terrifying blade first, before turning to the thumb. Then, perhaps, after the dramatic chopping of the appendage, I will introduce a scarf to collect the severed thumb (seen briefly) from the red velvet bag. In one fluid motion, the scarf will be flipped open to see that nothing is in it, and Mr. Widdle’s hand will emerge triumphantly, thumb safely attached.
A thought occurred to me that the classic Thumb Cuffs could play a role in this routine. Might the two thumbs first escape an authentic pair of steel Chicago bonds before submitting to the subsequent individual perils? Tempting, but time is an issue, as the all three effects demand a good portion of it for completion (this especially holds true for the sword box). Still, the idea of beginning the routine with a double-thumb escape is enticing.