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Copyright © 1980 by Martin Breese

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Provenance
1st edition, 1980, The Supreme Magic Co, Ltd., Bideford, England.
GANSON'S MAGIC TEACH-IN SERIES

THE
HINDU THREAD TRICK
often referred to as
THE GYPSY THREAD

Methods, Routines, Tips on

Presentation, and ideas by
magicians who feature this
classic trick

WRITTEN AND PHOTOGRAPHED BY

LEWIS GANSON
 Contents
Contents............................................................................................................................... 4
INTRODUCTION ................................................................................................................ 5
THE HINDU THREAD TRICK ........................................................................................... 6
THE EFFECT ................................................................................................................... 6
THE THREAD ................................................................................................................. 6
PREPARATION ............................................................................................................... 6
PRESENTATION.............................................................................................................8
MARCONICK'S GYPSY THREAD..................................................................................... 13
PREPARATION ............................................................................................................. 13
PERFORMANCE ........................................................................................................... 14
EASY GYPSY THREAD ..................................................................................................... 18
PERFORMANCE ........................................................................................................... 18
ALI BONGO'S EXPERIENCE ...........................................................................................20
THE ROUTINE..............................................................................................................20
THE THREAD OR COTTON .........................................................................................20
SHOWS FOR CHILDREN ............................................................................................. 21
THE NEEDLE THREADING ADDITION..................................................................... 21
PREPARATION ............................................................................................................. 21
PERFORMANCE ........................................................................................................... 21
JEWELLED SCABBARD GAG ...................................................................................... 23
HUMOROUS GYPSY THREAD .................................................................................... 23
DISPOSAL OF THE PIECES ......................................................................................... 23
BREAKING THE THREAD ...........................................................................................24
DISPLAYING THE PIECES...........................................................................................24
DAVID NIXON'S IDEA .................................................................................................24
THE BONGO GYPSY THREAD SUIT ........................................................................... 25
PATTER .........................................................................................................................25
A NOTE ON THE PREPARATION ...............................................................................26
CHADWICK'S MENDING COTTON VERSUS TACKING THREAD ...........................26
REPEATING IMPROMPTU .......................................................................................... 27
DANY RAY ..................................................................................................................... 27
PAT CONWAY'S ROUTINE ..............................................................................................28
REQUIREMENTS .........................................................................................................28
PREPARATION .............................................................................................................28
PERFORMANCE ...........................................................................................................30
CONCLUSION................................................................................................................... 32

4
 INTRODUCTION
At the time of writing, sixteen 'Teach-In' books have been published, each dealing with a
different magical effect. Suggestions are constantly being received for new subjects to be
included in the series. A request which re-occurs is for a treatise on The Hindu Thread,
often called The Gypsy Thread, two names for the routine in which a length of thread is
broken into small pieces then restored.
Top-line magicians Fred Kaps, Dany Ray, Ricky Jay, Billy McComb, Ali Bongo, Hans
Trixer, Marconick and many others, have all featured this beautiful cameo of magic.
My own involvement was through the magazine THE GEN when the clever Dutch
magician Marconick, allowed me to describe his version for publication (Volume 10, No.
12 - April 1955). That fine performer Ali Bongo not only prepared the excellent
illustrations but was a great help in compiling the text. He has also again kindly come to
my aid in providing the latest up-to-date information on this classic, having performed it
for many years under all sorts of conditions and in many parts of the world.
On commencing the research for this present book, I approached my good friend Peter
Warlock and as usual, he gave me his full co-operation and permission to use material
which appeared in his 'Pentagram'. In Volume 7, No. 8 for April 1953, is a very full
explanation of 'The Hindu Thread Trick', credited as the Baker-Kaplan-Warlock-Trixer
version because of a combination of ideas gleaned from these four magicians. However,
Hans Trixer was responsible for the inspiration behind the 'Pentagram' article, wrote
much of the text and should be credited with updating this splendid effect and bringing it
to the attention of so many magicians.
Prior to the publication of the version in Pentagram, there have been explanations in
several books, amongst which are 'Greater Magic' (pages 846-847); Sach's 'Sleight of
Hand' (pages 45-47); Al Baker's 'Pet Secrets', Kaplan's 'Fine Art of Magic' (pages
305-313) and I was surprised to learn (via Ali Bongo) that Professor Louis Hoffmann
provides an explanation in 'Later Magic', rather hidden in the text of 'The Chinese
Paper-tearing Trick' (pages 473-475).
Kaplan's 'Fine Art of Magic', published in 1948 has some excellent line drawings
accompanying the text, showing his method for the preparation of the thread and the
handling through all stages of the routine. Hans Trixer states that it was this version with
which he experimented and which forms the basis of his routine.
Kaplan calls it 'The Gypsy Thread Trick' and it has become known as this to many
magicians. However, Hans Trixer has returned to the older name for the routine he
describes.

5
 THE HINDU THREAD TRICK
The modern effect as performed nowadays is usually the one described by Hans Trixer
(with occasional slight variations) so we will commence with a description of what the
spectators see.

THE EFFECT
Like all magical classics, the plot is simple and easy to understand. The magician breaks
off a long length of thread from a spool then places the spool aside. He holds the thread
between the tips of his left thumb and forefinger for display, his hands being clearly seen
to be otherwise empty. Slowly and deliberately he breaks off small pieces of the thread of
about equal lengths until just one short piece remains between his left thumb and
forefinger. The rest of the small pieces are rolled into a small ball between the right
thumb and forefinger. The piece from the left hand is now added to the ball which is then
seen to be clinging to the centre. The ends of the straight piece are taken between the tips
of the thumb and forefinger of each hand, the hands moved slowly apart when the ball is
seen to gradually unroll, leaving the magician as he started with one long length of
thread. Again the hands can be clearly seen to be otherwise empty.

THE THREAD
Many magicians who perform this trick and have described it in print, state that the best
type of material to use is that known as 'tacking' thread. It is the cheap thread or cotton
used by tailors and dressmakers for tacking pieces of material together. This cotton has
not been impregnated with the substance which gives the better quality cotton a smooth
surface and makes it springy.
This dull looking, limp and somewhat inferior cotton has another property needed; that
is, it breaks quite easily. It is supplied on bobbins about two inches high and is either
white or black - it is the WHITE that is required. In the photographs, I have used both
black and white to enable a contrast to be made, using white on black to allow details to
be seen in certain photographic prints and either black or white according to background
in others. I repeat - for performance, use WHITE.

PREPARATION
Careful attention to the preparation of the thread according to a tried and tested method
of folding, is vital to the success of the trick, otherwise you may finish with a tangled ball
of cotton and completely spoil the effect.
Various methods have been devised for preparing the thread but first, we will confine
ourselves to the one used by Hans Trixer and described by him in Pentagram.
1. Hold the spool in your RIGHT hand and bring it up to the face.

6
2. Take the free end of the cotton with the LEFT hand and extend the arm so that about
one yard is unwound from the spool. Release the length and again bring the left hand up
to the spool.
3. Again, grip the cotton near the spool and bringing it up near the face, extend the left
arm so that another length of cotton is pulled from the spool. So you have unwound
about two yards of cotton, the length of your arm ensuring that the measurement is the
same each time.
4. Do not release your hold on the cotton with the left hand but wind it around the left
FIRST and SECOND FINGERS in the form of a 'figure eight' - Photograph 1.

5. As soon as you reach the spool, carefully remove the 'figure eight' piece from the
fingers, taking great care that the loops are not mixed up.
6. Where the loops cross, fold the top loop onto the bottom loop, so making a circle -
Photograph 2.

7. Pleat the bundle carefully and fold in half again. Repeat this then wind the cotton
coming from the spool THREE times around the bundle - Photograph 3.

7
8. Push the prepared bundle of cotton (after unrolling a little more from the spool) into
the hollow part of the spool - Photograph 4.

9. You are now left with about a yard of cotton coming from the centre part of the spool.
Wind this length lightly around the spool - Photograph 5 shows white cotton on a black
spool for clarity. All is now ready for performance.

PRESENTATION
To obtain the maximum effect for this beautiful close-up item (which can also be per-
formed on a stage), everything should be done slowly and deliberately, the action taking

8
place right at the fingertips. The spectators can see every move that is made, see every
part of the hands and fingers yet a seeming miracle takes place.
Take the spool from the table or pocket, holding it at the protruding ends of the bobbin
between the right thumb and SECOND finger, the tip of the second finger being at the
top over the hole in the end of the bobbin containing the ball of cotton - Photograph 6. If
the other fingers are spread, the spectators can see that the hand is otherwise empty.
Show the left hand to be empty. This is done without comment, the idea being to ensure
that the spectators realise that you have nothing concealed in your hands.

With the tips of the thumb and first finger of the left hand, take the free end of cotton
-spread the other fingers. Similarly, when the right hand is later brought into play, use
only the thumb and first finger for handling.
While the left hand moves to the left in the action of unwinding the cotton, bring the
bobbin about five inches beneath your chin. By unwinding cotton to the length of your
arm, the correct length is obtained. As soon as you have measured off the correct length
of cotton, you prepare for a vital move - perfect timing ensures the handling is natural.

Up to this point, the palm of the right hand has been towards the audience but now turn
it and at the same time, move the right thumb outwards and hold the bobbin
momentarily between the tips of the first and third fingers. Now take over the bobbin

9
with the thumb and second finger and simultaneously, drop the free end of the cotton
from the left hand -Photograph 7.
Timing is now the essence of the next move. Take the bobbin with the thumb and first
finger of the LEFT hand and at the same time, relinquish the hold with the right thumb.
Bend the right forefinger inwards and that part of the cotton issuing FROM THE
CENTRE OF THE BOBBIN is pinch-gripped in the fold of this finger. The grip must be
tight for the left hand moves away with the bobbin and the concealed ball is withdrawn.
The small ball of cotton should now take up position at the tip of the right forefinger for
the thumb to come down to hold the ball between thumb and forefinger. For
misdirection, your eyes must follow the movement of the spool.
Only about four to six inches of cotton are unwound as you move the left hand away and
at this point, the cotton is broken and the bobbin placed aside. The position now is that
your left hand is empty whilst a yard of cotton hangs from the right forefinger and
thumb. Now turn the palm of the right hand towards the spectators who see it empty -
they turn it again to its original position.
Bring the left hand under the right and at a point approximately one inch from the little
finger, grip the cotton and break it. Move the left hand away showing the long piece then
bring the left hand back to the right and place the long piece against the short piece. As
the left hand comes up to the right and the right thumb and forefinger open a little to
receive the long piece, the left thumb and forefinger give ample cover to the small ball
which momentarily might be visible.
Again bring the left hand under the right and break off another piece of cotton. Repeat
these actions until the original length of cotton is broken into pieces measuring between
three to four inches in length. They are held between the right thumb and forefinger as in
Photograph 8. Remember, at this point, one of the pieces has a small ball of cotton at its
centre.

Move the hands together, remarking that you will take one piece away. Bring the tips of
the left thumb and forefinger crosswise against the tips of the right thumb and fore-
finger. Open the tips of all four digits slightly, pinch the ball of cotton between the left
thumb and forefinger and move the left hand keeping the right hand stationary - the
audience see you take one short length of cotton from the right hand.

10
The position now is that in your left hand you have a length of cotton, the centre of which
has been rolled into a ball and in the right, a number of small pieces.
Hold the left hand up, palm outwards, for the spectators to see into the hand whilst you
roll up the pieces into a ball with the thumb and forefinger only of the right hand. On
completion of the rolling, there is a ball of cotton between the right thumb and
forefinger, similar in size to the ball concealed in the left hand.
Toss the little ball of cotton from the right hand into the air and catch it on the
outstretched palm then re-position it between the right thumb and forefinger, showing it
very deliberately.
State that you will add the small ball of pieces to the piece in your left hand. Move both
hands together, bringing the tips of the right thumb and forefinger crosswise against the
tips of the left thumb and forefinger as in Photograph 9. As the right thumb and fore-
finger take the piece with the rolled up ball in the centre from the left hand, pull the ball
of pieces backwards very slightly.

Show the left hand empty and turn the right hand so that the single piece and what
appears to be the ball just added, can be seen.
Take the lower end of the piece between the left thumb and forefinger then release the
grip with the right thumb and forefinger on the ball in the centre but retain the grip on
the ball of small pieces.

11
Pick up the free end of the piece with the right thumb and forefinger and lift it to bring
the hands side by side but sufficiently apart so that an arc of cotton is formed with the
ball in the centre - Photograph 10.
Blow on the ball in the centre then VERY SLOWLY MOVE THE HANDS APART. It is the
slow unraveling of the ball which adds considerably to the effect, the final position being
that the yard or so of cotton is stretched between the hands, the latter being held palms
towards audience, the little ball of small pieces perfectly concealed between the thumb
and forefinger of the right hand.
Some magicians now gather up the length into a bundle and dispose of the length and
small pieces together. However, Hans Trixer has the following cleaner ending.
Release the grip with the right hand on the end of thread so that the whole length hangs
from the left hand. With the right hand, grasp the short piece of cotton above the left
thumb and forefinger and pull it downwards and over the left hand so that this end meets
the lower end. Move the right hand towards the spool of cotton and in so doing, roll the
ball of pieces so that it is held by the tips of the FIRST AND SECOND fingers. Take the
spool as in Photograph 6, pushing the small pieces into the centre of the spool. Take a
bow, holding the spool at the tips of the fingers of the right hand, with the restored length
in the left.
Hans likes to hand the restored length of cotton to a lady as a souvenir.
Whichever version of this trick the reader eventually decides to perform, he is strongly
advised to study the natural handling of the thread and pieces described in this Trixer
version. The unhurried, deliberate actions carried out right at the fingertips, enables the
spectators to see all parts of the hands and fingers. It is these clean, efficient and pleasing
visual actions of the hands which add so much to the mystery of the effect and the
enjoyment of the spectators.
The only difficulty I encountered was in the last part of the preparation for folding the
thread. In instructions 7, Hans writes: "Pleat the bundle carefully and fold in half again.
Repeat this ... ". The bundle becomes so tiny that I had trouble with the 'repeat this'. I
have purposely not altered Hans' instructions. However, if the reader will also study the
line drawings by Ali Bongo in the Marconick version then all will be clear.

12
 MARCONICK'S GYPSY THREAD
In addition to being a fine stage performer, the clever Dutch magician Marconick has an
excellent close-up act, in which he performs his own version of The Gypsy Thread. Some
years ago (1955), he provided full information for me to describe it for publication in
Harry Stanley's magazine THE GEN. Actually, Ali Bongo made sketches as Marconick
explained every move. The sketches were later re-drawn by Ali in his usual artistic
manner and readers will see that they make the necessary preparation very clear indeed.
The effect is the classic one already described for The Hindu Thread.
The thread used can also be WHITE TACKING COTTON but over the years, Ali Bongo
has used a substitute which will be described later.
So that every detail can be studied, it is proposed to reproduce the text in much the same
words as in the original GEN article but new photographs have been added.
In the Marconick routine, the handling has been simplified for the performer by a subtle
idea in the preparation of the thread, which enables the little bundle of thread to be
trapped between the sides of the first and second fingers in the action of picking up the
spool - a vital secret move is over before the trick starts'.

PREPARATION
1. Unwind about a yard of cotton from the bobbin. We will call this length A. Grip the
cotton between the right thumb and forefinger at the point nearest to the bobbin then
unwind about another yard. This second length we will call length B. Fig. 1 shows the two
equal lengths with "x" the spot where the cotton is held.
2. Place the bobbin in a position where it cannot unroll - on a table or have it held -then
grip point "x" between the left first and second fingers holding it firm with the thumb.
Holding length B in the right hand, wind it loosely in a figure-of-8 around the left first
and second fingers. If the left first and second fingers are held slightly apart and the
thread wound around them loosely in a figure-of-8 as shown in Fig. 2, until all of length
B is used up, then the wound thread can be slipped off the fingers easily. The shape of
length B after it has been slipped off the fingers is shown in Fig. 3.
3. Now bend the top of the 8 over the bottom (Fig. 4), when you will have a small circle of
coiled thread (Fig. 5). Squeeze the circle sideways to make it a small flat skein (Fig. 6),
then pleat the skein zig-zag into three as shown in Fig. 7. Take the bundle in the left hand
and wind five turns of length A around it (Fig. 8).
4. The little bundle is now placed against the side of the cotton on the bobbin and the re-
mainder of length A is wound back onto the bobbin. The bundle should be near one end
of the bobbin and length A wound towards the other end; Fig. 9 shows this arrangement.

13
Before the performance commences, the bobbin can be on a table or in the left-hand side
pocket of performer's jacket.

PERFORMANCE
If the reader has prepared the thread as described and will go through the following
moves with the bobbin in his hands, he will have little difficulty in mastering the routine.
1. Pick up the bobbin in the left hand. The left thumb is on one side of the bobbin and the
first and second fingers on the other side. Fig. 10 shows this hold and reveals clearly how
the bundle comes between the sides of the first and second fingers. With the fingers held
close together, the bundle is squashed between them and is hidden from view (Fig. 11).

14
In Figs. 10 and 11, white cotton on a bobbin of black cotton has been photographed so
that it shows up clearly. In performance, of course, all the cotton would be white.
2. Take the end of the thread between the right thumb and forefinger and pull to the right
causing the thread to unravel from the bobbin. The pull must be a gentle one then, when
the bundle is reached, it will not be pulled from between the left first and second fingers.
Release the grip on the thread by the right thumb and forefinger.
3. Holding the bundle and length of thread in the left hand, take the bobbin into the right
hand, letting an extra three inches (past the bundle) unravel. Break the thread at this
point and place the bobbin aside. Fig. 12 shows a good method of snapping the thread
close to the bobbin without the danger of pulling the bundle away from between the left
first and second fingers. Holding the bobbin between the right thumb and forefinger, the
thread is trapped against the side of the bobbin by the pad of the forefinger. The thread
goes over the second and third fingers and under the little finger which is bent and
pressed against the top of the palm. Thus the thread is anchored against the side of the
bobbin and the top of the palm. By bending the second and third fingers upwards, the
thread will snap.

We are now left with what appears to be about a yard of thread hanging down from the
left hand, the bundle being hidden between the first and second fingers. By bringing the
left thumb up against the side of the forefinger, the bundle can be gripped between the
pad of the thumb and the side of the forefinger. This keeps the bundle hidden but
releases the second finger and we are left with a natural position for holding a length of
thread, namely between the left thumb and forefinger.
4. The next requirement is to snap the thread into short lengths. This can be accom-
plished as follows:
With the thread hanging down from the left hand, bring the right hand in front of the
thread (nearest to audience) with the back of the hand towards the audience. Lift the left
hand and let the thread run through the right fingers until the end of the thread is
reached. Take two turns around the right forefinger and hold the thread pressed against
the finger by the pad of the thumb. Allow the thread to go OVER the second finger and
UNDER the third and little fingers. Press the thread against the palm with the pads of
the third and little fingers. By exerting an upward pressure with the second finger, the

15
thread can be snapped. The small piece of thread that has been snapped off is placed
between the LEFT thumb and forefinger, close to the hidden bundle but with just a tiny
gap between it and the long length to facilitate easy removal later.
Continue snapping off short lengths, placing them between the left thumb and forefinger
until all of the thread has been used up. We are now left with the short lengths held as
shown in Fig. 13. The bundle (now on a short length of thread) is still hidden between the
thumb and forefinger.

5. With the right thumb and forefinger, remove all the pieces of thread together EXCEPT
THE ONE WITH THE BUNDLE ATTACHED. This can be done without fumbling due to
the fact that a tiny gap has been left between it and the rest of the pieces. Make a rolling
motion with the right thumb and forefinger; the pieces of thread will roll up into a ball
between the pads of the thumb and forefinger.
In Fig. 14, the visible ball is seen between the right thumb and forefinger whilst the short
length of thread (really a long length because it includes the bundle) is seen between the
left thumb and forefinger.

6. Place the ball between the LEFT thumb and forefinger, opening the pads sufficiently to
let the ball be pressed between them but without disclosing the bundle. Close the pads
over the ball. In appearance, you have placed the ball against the short length of thread
under the pads of the thumb and forefinger; IN FACT, YOU TELL YOUR AUDIENCE
THAT YOU ARE ATTACHING THE BALL TO THE SHORT LENGTH OF THREAD.

16
Immediately the ball is out of sight, take the bottom end of the thread between the right
thumb and forefinger and give a gentle pull. This will bring the bundle into view on the
thread (Fig. 15).

As the ball is hidden between the pads of the left thumb and forefinger, it appears that
the ball composed of short pieces of thread has been attached to the straight piece of
thread held in the left hand.
7. After a slight pause, blow on the bundle and slowly move the hands apart. The bundle
will unravel and you are left with about a yard of thread; the same length apparently with
which you started.
8. After a pause of sufficient duration to allow the audience to appreciate the restoration,
lower the right hand and hold it palm upwards. Allow the thread to spiral down into the
right palm (by lowering the left hand). When both hands are close together, drop the end
of the thread and the ball of pieces (under cover of the left hand) into the right palm and
bring both palms together. Make a circular motion with the left hand which causes the
thread and ball of pieces to roll up together into a single ball. You are now left with a
small ball of thread which is apparently the thread the audience has seen restored.
This ball can be tossed aside causally -but make certain that it is not able to be picked up
by a too curious onlooker.
That completes the description of Marconick's method for the effect. It is a beautiful
magical item, performed right at the fingertips. Perfect cover is provided for every move
and a trial will convince the reader that it looks simply impossible that a duplicate length
of thread is concealed anywhere in the hands.

17
 EASY GYPSY THREAD
I performed the Marconick routine for several years, often using the following
presentation when sitting at a table for a close-up act.
Two additional articles are needed; a small plastic picnic plate and a pair of scissors. The
plate I have is dark red in colour, the white cotton showing up clearly when it is on the
plate.
The spool is prepared in the Marconick manner and can be either in a pocket or on the
plate (bundle side down), with the scissors resting against it to prevent it rolling.

PERFORMANCE
Pick up the spool in the left hand, getting the bundle between the left first and second
finger as described.
Unwind the thread in the usual manner but then place the spool on the plate as the
bundle is transferred to between the left thumb and forefinger. It appears as if the thread
is just being held at a convenient point to allow it to be cut from the spool.
Pick up the scissors and cut the thread at the point it would be broken in the routine
described. Move the spool off the plate.
Hold the left hand high above the plate so that the bottom end of the thread almost
touches its surface. By moving the scissors up the length of thread, pieces about three
inches long are cut off and fall onto the surface of the plate - Photograph 1. The cutting
should be made deliberately, allowing the spectators to see each piece fall from the
length of thread in the left hand.

Eventually, you are left with one short piece in the left hand, the bundle in the centre of
this piece hidden by the left thumb and forefinger. Place the scissors aside, pick up the
pieces from the plate with the right thumb and forefinger and drop them into the left
hand which is now held palm up. Extend the left hand for the spectators to see the pieces.

18
With the right thumb and forefinger, gather up the pieces from the left palm and roll
them into a ball.
From here on, the ball is seemingly attached to the centre of the single piece held by the
left thumb and forefinger then the restoration is made by holding an end of the thread in
each hand and slowly moving the hands apart.
To avoid repetition, the above instructions have been kept brief as it will be obvious that
all the fine points of handling of the Marconick routine can be incorporated. Cutting
instead of breaking the thread can be made quite a 'showy' business and has a certain
advantage for the performer as there is no danger of the 'ball' being dislodged from
between the thumb and forefinger as the thread is snapped.

19
 ALI BONGO'S EXPERIENCE
As Ali Bongo has been closely associated with this trick for so many years, I asked him if
he would be kind enough to allow readers to benefit from his experience. Good friend
that he is, a recorded cassette duly arrived with his cheerful voice explaining so many
aspects of the trick together with a bunch of practical ideas that I decided to set it all
down in his own words. Over to Ali:

THE ROUTINE
"The routine I use for The Gypsy Thread is the one by Marconick. You will remember
that I took down details from Marconick himself and drew the illustrations for the text
which you published in 'The Gen' many years ago. That is the version where the ball is on
the side of the bobbin. I use this quite a lot just as published, with the machine-type
bobbin shown in your photographs but I use a different type of cotton.

THE THREAD OR COTTON

"I find that the tacking cotton recommended is rather stiff and strong so what I do is to
get CHADWICK'S MENDING COTTON which can be purchased at most of the large
stores like John Lewis, etc. It comes on a flat card. I take some of this and wind it round
and round the bobbin on top of the cotton already on it.
"Sometimes I carry with me the flat cardboard pack of Chadwick's Cotton with it
prepared as one would a bobbin so that the ball is on one of the flat surfaces of cotton on
the card. It is then a flat packet I can carry in a wallet - but I really prefer to use the
bobbin method. Billy McComb carries the flat packets around with him and he carries
several with the little ball already prepared. I prefer to make up each set just before a
performance as I find that if the ball is prepared too long before a show, it can snag when
you come to 'restore' the cotton. However, Billy is very successful with the trick. Billy
uses a little gimmick for preparing the thread which is a little block of wood with four

20
nails in it so that the 'figure-of-8' can be made around the nails and the cotton slipped off
easily. Maybe a couple of large garden-type staples would be suitable, then the cotton
would slip readily off the top of the projections. Again, it is a question of preference and I
have no difficulties with the preparation using the Marconick method.

SHOWS FOR CHILDREN

"When I was performing shows for children, I included the following version.
"The idea is to start the trick as normal but have a little girl to help and she holds her
cupped hands up in front of her. You drop the pieces, one by one, onto the girl's hands
until you have the last piece remaining in your left hand. Now you pick up each piece
separately from the girl's hands as you ask her to count (in fact you can ask all the
children to count) the pieces. When all are in your right hand, they are rolled up into a
ball which is apparently attached to the centre of the pieces in your left hand. Finally, ask
the little girl to hold one end of the cotton as you slowly pull on the other end to make the
restoration.
"I found that the above was a nice item to perform in a kids' show. It is very good for
parties where you have a rather intimate type of situation.

THE NEEDLE THREADING ADDITION

"My own contribution to the trick is the addition of a needle threading effect which has
been described in several books. It forms an ideal opening to The Gypsy Thread routine.
However, I do not use the Chadwick's Cotton when performing this addition; I use the
'tacking' cotton.

PREPARATION
"Prepare for the trick as previously described then thread a needle onto the free end of
the thread. The needle should be a fairly large one with a large eye.
"Bring the needle round in a half circle and push the point through BOTH sides of the
thread. Study Fig. 1 in which the two crosses show where the needle penetrates the
strands of thread. Fig. 2 is the stage where the needle is through the strands of thread
and Fig. 3 shows the position when the thread has been pulled tight. Test it to ensure that
the thread will not slip - sometimes I have to push the needle through twice to ensure it is
tight.
"In appearance it looks as if the needle is just threaded on the cotton.
"Stick the needle through a few strands of cotton in the bobbin to hold it securely until
needed.

PERFORMANCE
"Pick up the bobbin and get it so the ball is between the first and second fingers of the left
hand - as normal. With the right hand pull out the needle, unwind the cotton from the

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bobbin. Now let the needle dangle - there is no fear that the needle will come off the end
because it is attached. Break the thread in the normal way and put the bobbin aside.
"Now pick up the needle in the right hand and show it around to the ladies in the
audience and ask someone how many times it is threaded. They will say "Once". Now I
say I am going to thread the same needle twice with the same thread. I take it close to the
left hand so that the left fingers pull the loop round and round but this is all done under
cover of the two hands so no one actually sees what happens.

"If you study Fig. 4, it will be seen that by gripping thread at point A and pulling down-
wards, the thread will automatically become threaded into the eye of the needle for a
second time. This happens because the thread has been joined to itself by the initial
preparation -by pulling the thread through the eye, the join is brought up and passes
through the eye - thus a second strand of thread can be seen to have been passed through
the eye.
"The pulling can be done by gripping the thread at point A between the left second finger,
which holds the thread against the side of the left thumb. In this manner, the bundle is
still held between the thumb and first finger and does not interfere with the pulling.
"Now I show it and say: "Look, I've done it twice - I'll try to excel myself and do it three
times!" I just keep pulling the circle round and round until the thread is eventually all
used up and is actually threaded through the eye of the needle five or six times. I keep
saying: "Now I'll try for three ... now I'll try for four ... now I'll try for five ..." and so on.
"Finally, you are left with all the thread looped round and round through the eye of the
needle as in Fig. 5 and you are holding the little bundle against the series of loops. Let go
with the right hand then hold it up in the left hand and show the spectators so that they

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can see close-up how many times the thread is through the eye. At this point, you may get
applause because it looks very clever!
"I now say: "We have got the needle on the thread but there's only one way to get it off". I
reach down into my jacket and remove a very large pair of scissors and cut the loops (see
Fig. 5) and remove the needle.
"In your left hand, you now have a lot of pieces of thread which you separate to show they
are all individual pieces. With your right hand, remove all except the one piece of thread
(with the bundle on), roll them up into a ball and proceed with the moves of the
Marconick routine.
"The above makes the trick more interesting when performing an intimate close-up
show. It seems to make the climax stronger - maybe because you have taken slightly
longer to get to it!

JEWELLED SCABBARD GAG

"A gag I used with the above is, when I went to my coat to put the scissors back, I opened
the coat wide and there was a very large jewelled scabbard which the scissors went back
into. Actually, I adapted this idea from a film called 'The Five Thousand Fingers of
Doctor T', where there was a mad musical conductor and he put his baton away in a
jewelled scabbard.
"I passed on this gag to Ricky Jay and he uses it in a different form.

HUMOROUS GYPSY THREAD

"Another gag I have used for magicians is that instead of about a yard of thread being
prepared in the 'bundle', I prepare about three or four yards. It makes the 'bundle' much
bigger but it is alright for this gag.
"What you do, is to proceed in the usual way breaking the thread, etc., but when you
come to the end where you start pulling the little bundle open, it seemingly goes on for
ever! The tag line is: "And there is the thread restored ... restored ... restored ... restored
..."

DISPOSAL OF THE PIECES

"When I perform the standard version and have the small ball of pieces in between the
right thumb and forefinger, I come to the point when the hands are moved apart for the
thread to become restored between them.
"I bring the right hand over to the left thumb, leave the end of thread between the left
forefinger and thumb so now the thread is doubled up. I reach down for the loop at the
bottom and bring this up to the left thumb as well so now the thread is folded into four.

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"I reach over with the left hand to a spectator on the right-hand side and say: "Look, you
can have this as a souvenir". This provides ample cover for the right hand to drop and
dispose of the pieces in your pocket or even drop them on the floor.
"At one time, I used the "You can have this as a souvenir" as a running gag, giving stuff
away whenever it was convenient to do so. I started with the miniature vanishing wand,
which apparently I placed in a paper bag (actually the wand went up the sleeve). I would
screw up the mouth of the bag to close it then hand it to a lady, saying: "You can have this
as a souvenir", which was the start of the running gag.

BREAKING THE THREAD

"I have noticed that a lot of people who perform The Gypsy Thread, when they reach the
stage when the thread has been broken off the bobbin, start breaking it again close to the
left hand which I feel is wrong - it should be done at the other end of the thread. You slide
your right hand along the thread to the right-hand end (free end), twist it around the first
finger then break it with the second finger. Some people then bring that broken end and
put it in between the left thumb and forefinger.
"I am in agreement with that particular method of breaking the thread because when you
break it, your right hand goes well away from your left so that attention is always going
away from where the 'lump' is, which is good. If you then put that piece straight into
where the left thumb is then you are bringing attention back to the left hand, which I
prefer not to do.

DISPLAYING THE PIECES

"The method I started (I think I was the first) was to break off the first pieces of thread
then BEND THE LEFT ARM AT THE ELBOW in towards the body and place the small
piece of broken thread onto the left sleeve. Against a dark suit, the white cotton shows up
very well and this makes it very visual. It also makes it possible to perform the trick in a
fairly large theatre as you can see the cotton against the jacket. Each time you break
another piece off the thread, you place it next to the other pieces on the sleeve, eventually
having a line of pieces which can be clearly seen. From here on, you gather up the pieces
and proceed with the routine.
"Sometimes I used to put the broken pieces between the left thumb and forefinger and
LEAVE them there for a moment, which allows you to show the right hand empty. These
days, I am a little bolder and push them straight in and take them right out again then
grasp one end of what will be the restored thread.

DAVID NIXON'S IDEA

"I taught David Nixon The Gypsy Thread Trick and I am proud of the fact because he did
not perform many close-up sleight-of-hand tricks. Actually he did it very well and had a
good idea for performance.
"For the television cameras, he had to perform sitting at a table so when he broke the
thread into pieces, he let each piece fall onto the table where they were clearly seen. Next

24
he picked up all the pieces, rolled them into a ball and apparently rolled them round onto
the piece of thread just below the left thumb but then he let them fall off again onto the
table. To the spectators, it seemed that he was trying to stick the ball onto the thread and
was having difficulty. This looked natural so when he again picked up the ball between
his right thumb and forefinger and brought his right hand to the left thumb and
forefinger to make the usual move for seemingly attaching the 'ball' to the thread, the
appearance was very realistic.
"After the restoration, he just bundled up the restored pieces and ball of pieces together
and dropped them into an ashtray.
"Obviously, these ideas are only practical when you can perform seated at a table so that
the pieces, then the ball, can fall onto its surface.

THE BONGO GYPSY THREAD SUIT

"Some years ago, I wanted to be able to work in nightclubs and other venues where the
usual Bongo costume act was a bit too clownish so I decided that a more sophisticated
style of dress would be more appropriate.
"One of the tricks I wanted to do was The Gypsy Thread or Hindu Thread - I'm never
quite sure what should be the correct title. Actually, I prefer The Hindu Thread because I
saw it done in India and it is probably as much an Indian trick as it is Japanese - as far as
I know, it is not a Gypsy trick!
"Because of this trick, I designed a suit of a 'Pandit Nehru' style, the jacket having a high
collar with a sort of cravat at the top of it. The reason for this was just so that the
spectators could see the thread against the black suit. If you have a white shirt front on
stage then the thread will not show up.
"So this suit was black all the way over so that my hands would show up against it and the
thread would be clearly visible.
"It worked very well for what it was designed to do and I still have the suit. The only
trouble was that it made me look like a vicar, so now I had reached the other extreme!
"It may seem funny to have a special suit made so that one could work one small trick but
actually I think this is the way magic should be. So many people do rope tricks with white
rope which does not show up against a white shirt front and you can't see it. I'm always
advising performers to use yellow rope or red rope so that it can be seen. Very few people
actually take the advice.

PATTER
"The patter I use for this trick is as follows:
"Ladies and Gentlemen, a little bit of Oriental magic as performed by the Indian Fakirs ...
sometimes known as Yogurts I Picture if you will your oriental mystic sitting crosslegged
on his little bed of nails - very carefully of course!

25
"He takes a spool of thread and unwinds about a yard - or perhaps these days, it should
be a metre. Then, flexing the mighty muscles of his arm, he breaks it off - the thread that
is - not his arm. He begins to break the thread into little pieces ... one, two, three times ...
four, five, six ... (putting the bits on the sleeve). Then delicately moistening the tip of his
forefinger (lick forefinger then appear to decide that it tastes nice so suck it like a lolly) ...
Ah! flavour of the month.
"He picks up all the tiny pieces and rolls them into a tiny ball, right at the tips of his
forefingers ... or his three fingers ... or whatever it is. This is really a close-up trick ...
watch the magician go cross-eyed (bring the hands right up to the eyes and stare
open-eyed at them for a moment. If working close-up, I hold the hands right up in front
of a spectator's eyes and say: 'This is really a close-up trick ... watch the spectator go
cross-eyed!').
"Now he places the little ball on the centre of the little strand and rolls it around so that it
clings (let it hang there for a moment) ... isn't magic wonderful!
"Now the magician offers up a silent prayer that the trick may be successful ... a gentle
blow (blow what is known as a 'raspberry' - which gets a laugh just before the climax) ...
and lo and behold, the thread is completely ... restored".

A NOTE ON THE PREPARATION

"After the trick has been performed many times, the preparation seems quite simple.
Confidence has been gained because one has become proficient in preparing the thread.
At times I have reached for the bobbin (in a restaurant or similar surroundings) then
realised that it has not been set-up - so I have put my hands under the table and actually
done the set-up whilst chatting to people at the table. I find it is perfectly possible to do
that ... it takes just a few moments because I have become so used to doing it.
"I repeat that I like to set-up just before a performance so that the thread has not become
set in position in the bundle. When prepared for a long time, the springiness goes out of
it and it does not unfold cleanly. This applies particularly to the Chadwick's Mending
Cotton.

CHADWICK'S MENDING COTTON VERSUS TACKING THREAD

"In my needle threading sequence, I wrote that I do not use the Chadwick's cotton. If I
am going to perform both effects then it is the 'tacking cotton' straight from the bobbin
which is used.
"The Chadwick's cotton is a bit too soft to thread through the eye of the needle. The
tacking cotton is harder and when you thread the needle through the two strands to
make the little loop, it somehow is a little more positive. Chadwick's is softer and
sometimes breaks away.

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REPEATING IMPROMPTU
"Although one does not recommend repeating a trick, there are times when perhaps
someone joins the party and it becomes an embarrassment if you have to refuse the
insistent request to show it again.
"If you do not have another bundle prepared and have no time to re-set in the normal
manner, there is an 'out' which I have used on some occasions.
"I notice where the 'restored' thread from the first performance has been disposed of -
maybe in an ashtray, etc. I get hold of this, look at it then roll it into a ball and say: "We'll
get rid of this and do it with a new piece." Seemingly I dispose of it but actually I retain it
between the right thumb and forefinger, pull off another length of thread, break it up in a
rather more casual way (maybe get someone to help me) then do a complete switch of the
two balls. It will not pull open, of course, as it should do but I get round this by instead of
holding it myself, I say: "Look, I won't do it myself - I'd like someone else to hold the ball
of pieces for me. Now would you hold the ball?" This is where the switch of balls is made
as there is plenty of misdirection to cover the action. One has to 'play it by ear' as there
can be no set form of handling in such a situation - so you have to use your own cunning.
"Say: "Now you perform the magic - just look for one end and you will find the thread has
been restored". The fact that the thread is in a bit of a tangle does not matter because it is
in their hands.
"Obviously, this is an 'out' but it works'.

DANY RAY
"One of the most beautiful presentations of The Hindu Thread I have seen was
performed by Dany Ray at a Magic Circle Scala Show one year. It was really very
beautiful. He called his wife on stage and she was dressed in a very elegant, dress of
flowing chiffon and she handed him the reel. This was all done to the music of 'The Swan'
by Saint-Saens. He talked over the music using gags, one being as he was breaking the
thread ... "Broken! ... Casse! ... Alles Kaputt!"
"His actions as he moved about the stage were ballet-like which was most pleasing to the
eye. As he broke the thread, his hands moved well apart so that one could see that it
really was broken. Additionally, the movement apart of the arms was done with an
artistic, flowing action - all in keeping with his general style of performance."
So the cassette ended.
Thank you, Ali Bongo.

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 PAT CONWAY'S ROUTINE
I had been told that Pat Conway had something special in the way of practical ideas for
the trick, particularly in the preparation of the thread, so I sought his permission to
include his version in this book. He not only consented but kindly sent full details of his
routine.
For the photographs, I have used black thread on the bobbin so that pins will show up
against it. The thread used for the trick is WHITE and a length has been wound on the
bobbin to show up against the black thread. This is for photographic purposes only.
The effect is the classic one so we will start with what is required.

REQUIREMENTS
A spool of white tacking thread and TWO dressmaker's pins.

PREPARATION
This is a vital aspect in the successful performance of the trick as it ensures a smooth
finish with no tangling of the thread.
1. Unwind about eight feet of thread from the spool (roughly about twice the length be-
tween your outstretched arms).
2. Trap the thread at the point it leaves the spool by pushing one of the straight pins into
the thread on the spool over the strand, then under the thread on the spool again. The
spool can now hang suspended on the single strand of thread - Photograph 1.

3. Hold the thread between the right thumb and forefinger at about the centre point of
the unravelled thread, leaving the spool dangling from the thread towards the floor.
4. Place the loose half of the thread over your head and let it hang round your neck out of
the way.

28
5. With your left hand, pick up the second pin and place it between the thumb and first
finger of the right hand which are also holding the centre point of the strand of thread.
6. Start winding the length of thread from which the spool is dangling in a 'figure-of-8'
around the ends of the pin you are holding -Photograph 2. This has the effect of drawing
the spool up to the right hand. As the spool moves up, you will notice that it twists
around. THIS IS THE SECRET OF KEEPING THE THREAD FROM TANGLING WHEN
YOU EVENTUALLY 'RESTORE' IT.

7. When the spool reaches your right fingers, grasp the bundled up ball of thread on the
pin between the right thumb and first finger, whilst the left fingers wind the loose thread
two or three times around the bundle.
8. Press the bundle on the pin against the thread on the spool, near one end then wind
the loose thread ONCE around the spool, trapping the bundle and pin against the side of
the spool - Photograph 3. Continue to wind the thread around the spool but AWAY from
the bundle until all the thread is wound around the spool.

9. REMOVE THE PIN FROM THE BUNDLE AND THE FIRST PIN then trap the loose
end of thread furthest from the bundle against the spool with one of the pins. This holds
everything in place - Photograph 4.

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10. Place the spool on your table with the little bundle at the back and you are ready to
perform.

PERFORMANCE
Pick up the spool between the right THUMB and SECOND FINGER, displaying it openly.
Make sure that the bundle at the back is covered by the ball of the thumb, the second
finger being at the opposite side of the spool - Photograph 5 is the performer's view.

Pull out the pin with your left hand and toss it onto the table. Unwind the thread by
pulling on the loose strand until you feel a little 'pull' under the right thumb, then
unwind ONE more strand and the little ball will be delivered into the correct position for
gripping it between the tips of the right THUMB and FIRST FINGER. All fingers can now
be spread wide apart without disclosing the ball.
Break the thread off the spool a couple of inches on the spool side of the bundle. Place the
spool aside then with the left hand break the thread into small lengths, placing them be-
tween the right thumb and forefinger alongside the strand with the ball at the centre.
Take all the strands between the LEFT THUMB AND FOREFINGER WITH THE EX-
CEPTION OF THE ONE STRAND WITH THE BALL ON IT - this remains between the
thumb and forefinger of the right hand.
Roll up the small pieces into a ball with the left thumb and forefinger. Pretend to put the
ball between the right thumb and forefinger, seemingly attaching the ball to the centre of
the one strand. What you really do is to move the

30
left thumb and forefinger up the strand of thread, squeezing the ball of pieces between
them and so hiding the ball. At the same time, you release the other ball between the
RIGHT THUMB AND FOREFINGER. To the audience, it appears as if you have attached
the ball to the centre of the single strand.
All that remains is for an end of the strand to be held in each hand and the hands moved
SLOWLY apart.

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 CONCLUSION
Having studied every explanation of 'The Hindu/Gypsy Thread' that could be located
then selected information with great care, we feel the result is that all necessary details
on the subject needed for a successful and entertaining performance of the trick are
contained within these pages. Other routines have their merits but we had to make a
final choice and the contents of this book is the result.
Although we have endeavoured to avoid undue repetition, it has been necessary to repeat
explanations of certain moves so that readers have before them a complete description of
each routine, rather than having to refer from one to another.
Certain types of thread have been specified; different methods have been given as to how
it should be prepared to ensure a clean restoration and various styles of presentation
have been recorded. Faced with alternatives, one is bound to wonder which one is best.
The answer, of course, is that because they are all practical and audience-tested and have
been evolved by experienced magicians who employ them in their own acts, it has to be a
personal choice.
Some readers will select one complete routine, others will prefer a portion of one to be
married to parts of another. Whatever the choice, we trust the performance of this classic
will continue to bring enjoyment to magicians and their audiences.
LEWIS GANSON.

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