Bame Richardsov

When ready to perform, get die gimmick onto your left thumb and keep it hidden behind the finger*, along with the needles.

Allow someone to choose one of the colored direach from the kir. When he has done so. take the card or appropriate spool in your left hand and with your right hand beg.n to.unwind the thread. When you have freed about six inches, pais die card or spool to the spectator, while maintaining your grip on the free end of the thread, and ask him to continue unwinding until he has a length of about thirty inches.

While this is done, unobtru- 5 sively pass the end of the thread to your left hand. As you make diis transfer, push the end of the diread through the loop of the direader, then clip the thread between your left firs: and .second fingers (Figure 5)- Once you have it securely gripped, your right hand can let go.

By now the spectator should have finished unwinding the thread at which point you ask him to break off the required length. Bring your hands together and grip the end of the thread there, so that you can ostensibly pull both ends even for the spectator to tic them. It is at the start of this action that the main trickery occurs. What happens is that your right fingers encircle the needles, pulling them off the threader. At the same time, your right hand lightly pinches the thread on the long side, behind die needles, while your left: fingers release the end of the thread., which is automatically drawn through the eyes of die needles and clear of the direader. This results in threading the needles on the chosen thread.

As the thread leaves the threader, your left fingers and thumb catch the end and draw it down until it meets the other end. The thread now dangles from your right hand, doubled over in two equal lengths. Ilie needles arc at the center, where they are masked by your right fingers {Figure 6).

Hold up the thread, so that the spectator can take the ends and tie them together. While he does this, casually form your left hand into a loose fist around the thumb tip. Then withdraw your thumb from die latter, leaving the gimmick inside your curled fingers.

When the spectator has finished tying the knot, use your right hand to hang the loop of thread over your left fingers, as in Figure 7, at the same time depositing the hidden needles alongside the thumb rip.

the Mind-

Thea ter or-

-:------Ask your helper ro remove the four needles from the sewing kit, ~ rhen choose one and hand it co you.

T^V^rM Take it and. insert it, point first, into yf'J^j*^ thumb tip via the top of your

! Repeat this with two more but as you press the third down, insert your right second finger into the thumb tip and withdraw it secrcdy from the fist. The action is similar to that used when stealing a dye tube in die classic silk-dying trick. Girl your second finger in toward your palm as it emerges from the left fist.

Have the spectator hand you the fourth needle, taking it into your right hand while being careful not to flash the gimmick Push the needle into die top ot your fist but, to avoid the risk of sticking yourself, insert the blunt end first. This small discrepancy passes unnoticed, as no one can really see the orientation of the needle.

Casually pick up the sewing kit and place it into your pocket, ditching die gimmick at the same time. You arc now clean and everything is ready for the climax. \X'1th your right hand, grasp the thread and slowly begin to withdraw it from the fist. As it emerges, the three needles arc seen threaded on it.

Look .it these as if slightly puzzled, then open your left hand to reveal the fourth needle. Smile and say that three out of four isn't bud, and pas* everything to someone to examine 3nd verify that all is as it appears.

^ April 1995

the Mind-

Thea ter or-

any succcssful mcntalists I know never use playing cards in their programs. IIicy fed die audience will associate cards with trickery. Despite tills concern, such mentaliscs a.s Anncmann, Dunninger, Canasta, Koran, Krcskin and Maven have all employed cards in rhcir acts wirh great success.

I like using cards, lliey fir my pocket and I can, with the assistance of people in the audience, make "big" presentations using only these fifty-two flat and familiar objects. "Angels Flight" and "The Quasi-memorized Deck" (in Chapters II and IV respectively) arc stunning and memorable demonstrations. In some sense, they are not card tricks. They just happen to use card> to demonstrate die power of the human mind and to celebrate die mystery that is pan of our world.

I enjoy dose-up card magic, and I practice card work almost every day. However, I have deliberately excluded some tricks, such as a novel version of Card in Wallet, because they seem too magical in

eftecr forrhis collection. If you diink about it, thouglusome of the most astonishing card demonstrations magicians perform are really mental feats. Dai Vcrnons "Brainwave/* Paul Currys "Out ofThis World" and Phil Goldsteins "B wave" have immense impact because highly improbable events occur without guile or manipulation. ;

llie card tricks 1 have included itl this chapter require little dexterity, but diey do require a great dca; of skill and confidence to present them in a fashion dial will bodi astonish and entertain."

In the \ 970s, I used to go to London every May. And every year I would try to develop a card trick or tw o :o tc>ol Fred Robinson and Eric Mason, who were two of Britain's finest cardmcn and my best friends in magic. Many of the tricks in this chapter did just that. The reason, of course, is that all of us are used ro thinking in a fixed way. These tricks were deceptive, as you will sec, because they use simple, otflxrat approaches. I should also mention that my wo friends always fooled me—badly—with their wonderful skills.

0 0

Post a comment