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EFFECTIVE FOCUSES AND THEIR CLUES Card session (several tricks). Focus Secret
Directory / Spectacular tricks and their clues Session description: There is a small table and chair on the stage. The magician comes out from behind the scenes, greets the audience and takes a deck of cards from the table. Approaching the ramp, he says: “I have in my hands a deck of 32 cards, that is, there are eight cards in each suit, starting with sevens and higher. The cards are well shuffled (he opens the deck like a fan - Fig. 54 - those present see that the cards the deck is really mixed). Let's shuffle them even more thoroughly" (shuffles). After 20-25 seconds, having divided the deck in half and taking 16 cards in each hand, the artist, fanning them out, shows them to the audience. Surprised spectators see that in one hand the magician holds cards of only black suit (wine and clubs), and in the other - only red suit (diamonds and hearts). The presenter connects the cards and, after shuffling them, opens the deck again - the cards in it are thoroughly mixed.
An artist with a deck of cards comes down to the audience and, approaching 5-6 people in turn, sitting in different places, shows each of them this trick: standing a meter from the spectator and holding the deck in his hands, he asks to pull out one card from the middle, notice her, without informing the leader about it, and again put the card in the middle of the deck in any place. When the card is inserted, the artist, having carefully shuffled the deck, gives it to one of the spectators sitting next to him; then, raising his right hand up, as if asking for silence, he simultaneously shows both sides of his hand, so that the audience is convinced that his hand is empty, and lowers it over the deck, which he holds in his left hand. After this, he asks the spectator loudly, so that everyone can hear, to name the card that he previously noticed. “Nine of Clubs,” for example, he calls it; Before the person asked has time to finish this short phrase, the presenter’s right hand is raised up and in it is a nine of clubs. After performing the trick 5-6 times, the presenter returns to the stage slowly to take a pause. “Since I could not approach every spectator, I will once again show this simple trick for the whole hall. Those of you who will watch carefully, I think, will be able to easily repeat it at home.” The performer carefully shuffles the cards and holds them in his left hand. Shows both sides of his right hand and at the same time continues the conversation: “I need to get some card out of the deck (covers the deck with his right palm), I focus all my attention on this card, let’s say it’s the jack of hearts... (right hand thrown up) up hand holds the jack of hearts). As you can see, everything is very simple." Bowing, the artist thanks the audience for the applause, moves to the back of the stage, but, yielding to the persistent applause, returns to his previous place near the ramp. Shuffling the deck, he repeats the trick, slightly modifying it. “When you learn to mobilize your attention completely, you will be able to take out from the deck not one, but several cards you need at once. For example, four aces...” (the presenter holds four aces in his right hand). After a pause of 30-45 seconds, the artist goes to the table, where he leaves the deck, and returns back with a small frame for photographs that are hung on the wall. Having removed the locking cover from the frame (Fig. 55), he shows the frame to the light, turning it and the locking cover on both sides towards the audience. Having descended into the hall, the performer shows them in the same way to the audience sitting in the nearby rows. Returning to the stage, he locks the empty frame with a lid and hangs it on a special stand, placed in his absence by an assistant; the empty frame should be clearly visible from the hall.
Taking a card out of his pocket, the artist hands it into the hall to one of the spectators and asks him to tear this card lengthwise into approximately equal parts, put them one on top of the other, tear them across, put them on top of each other again, tear them lengthwise and, folding them again, tear them all of them across. Thus, the map is torn into sixteen approximately equal pieces. The illusionist who has descended into the hall holds in his hands a small envelope into which the spectator pours pieces of the card he has torn. The artist takes one of these pieces from the envelope and leaves it to the viewer, asking them to keep it until the end of the trick. The remaining pieces are sealed in an envelope, which the presenter takes to the stage, holding above his head, that is, in full view of those present at all times. An assistant had already appeared on the stage with an iron tray and a burning candle. The bag and its contents are “ceremonially” burned over an iron tray in front of the entire audience. The ashes are poured into a small piece of paper, and the artist loads it into the “magic” pistol using a small cleaning rod (the pistol and cleaning rod were in his trouser pocket). The assistant repositions the frame hanging on the stand with the reverse side facing the audience and leaves the stage, taking the tray with him. Having made several passes, the artist, getting into a fighting position, takes aim and fires a pistol at our frame; a slight click is heard. Having blown the gun out and hidden it in his trouser pocket, the presenter removes the frame from the stand and turns it to face the audience. Viewers see the previously burned map as a whole, but it is missing a small piece in one corner. The artist asks the spectator who kept the piece of the torn card to come up to the stage. The magician opens the frame in the presence of the spectator, and he himself takes out a card from it. By attaching the piece he saved to it, he certifies that it is the same piece, since it exactly fits this card. The public is amazed... The presenter thanks the viewer for their help. Escorting him from the stage, he asks to pass the map along with the torn corner into the hall so that everyone can get acquainted with it. This concludes the session with cards. It will take 12-15 minutes in your program (you will clarify this during rehearsals). The magician needs to retire for a short "rest". The public is busy comparing the map with the torn corner. The assistant comes out and cleans the stage, preparing it for the next session. Focus Secrets: Since an entire session is described here, consisting of several tricks, it has, accordingly, many secrets. But before we start talking about them, let us warn you that these are the tricks that can be performed by artists with small hands. You know that people with small hands can only work with special decks. For our session we need to have two such decks. We should start with their production. To do this, we need two completely identical new decks of 36 cards each. It is necessary that they have the same not only front, but also back sides (both in design and color). Usually magicians work with decks of thirty-two cards, so we will immediately put the sixes aside, they will be useful to us in the future. A sheet of cardboard with an area of 20x30 cm and a thickness of at least 2 mm must be pasted over on both sides with thick and thick paper - card or Whatman paper. This is done in the following way. First, one sheet of paper and one side of the cardboard are smeared with glue (necessarily rubber), this glue dries quickly, and then the sides greased with glue are connected to each other and rubbed through thin paper with a round stick or just a pencil - the gluing is reliable and the surface is smooth. Exactly the same. The paper is also glued to the other side of the cardboard. It is better to do it together with two people, which makes the work much easier. Taking one of the sixes we had previously set aside, we will smear its front side with rubber glue, and with the same glue we will lubricate the place in the center of the cardboard sheet where we will then stick this card (Fig. 56, A). Excess glue that protrudes beyond the borders of the card is removed with a soft rubber band - an eraser.
Armed with a well-sharpened knife, using a ruler and exactly along the borders of the card, we cut the paper right down to the cardboard on three sides, in Fig. 56, And they are shown in bold lines. Then we will place our ruler along the line marked with a dotted line in the figure (it passes exactly through the corner of the card, and cuts off the opposite one by one millimeter), and, running a sharp knife without much pressure 3-4 times, we will cut the paper to the cardboard, as we did and earlier. Gently prying the corner of the card with the tip of a knife, peel it off the sheet - while the glue is fresh, this is not difficult to do. The six that has been peeled off from the sheet must be preserved. Let's remove from the cardboard that part of the paper covering it that is shown in Fig. 56, B blacked out; First, peel off the strip to the left of line a-b, and then the part that was under the card. Rubber glue is removed with an eraser. We now have a template that allows us to quickly and accurately cut both of our decks. This is done like this: the cropped card is inserted face down into the cutout of the paper sheet. The card fits into the cutout accurately and tightly, as it is made according to the dimensions of the card. Then a ruler is placed on top and the map is cut exactly along line a-b. This cuts all 64 cards; Don't forget to sharpen your knife periodically. Before cutting cards, learn how to cut thick paper with a knife along a ruler somewhere to the side, on a separate cardboard backing; do not press the knife too hard and cut through the paper 3-5 times. After cutting, our maps changed from rectangular to trapezoidal, which is shown in a somewhat exaggerated form in Fig. 56, B. However, we need to give the cards the shape of an isosceles trapezoid, that is, cut off their second long side, as shown in Fig. 56, B dotted line; To do this you need to make a new template. Let's turn our cardboard sheet over and in the center of it (with rubber glue) glue face down the same six that we used to make the first template (Fig. 56, D). Next, as described above, the paper covering the cardboard is cut, first along the contour of the card on three sides (thick lines), and then along the dotted line c-d; The shaded parts of the pasting are removed from the cardboard, the rubber glue is removed with an eraser, and the template is ready. All 64 cards are also cut according to this template, and they are inserted into the cutout of the template face down, with the previously cut side inward, close to the side of the cutout, marked in our drawing with the letters d and e. The re-cut cards acquired a wedge-shaped shape - one end side of them became two millimeters shorter than the other. Taking one deck, fold all the cards in it with the wide ends in one direction. Take one card from the middle of the deck, mark it and, turning its wide end in the other direction, put it back into the deck. Having thoroughly shuffled, take the deck in your right hand, as shown in Fig. 57, and run the fingers of your left hand (without much pressure) along the edge of the deck; the card you notice will easily be pulled out of the deck and end up in your hand. Without knowing our “secret”, it is impossible to guess about it, especially since the magician never gives this deck to the audience.
Having made such a deck, you will be able to show many different tricks, some of which we will describe; You will develop scripts for others yourself. Coming onto the stage, the artist, shuffling the cards, “suddenly” divided them into black and red suits. Knowing the secret of our deck, you immediately guessed that the illusionist had previously divided the cards according to the colors of their suits, and then folded them into the deck cross-cut, that is, with their wide ends facing each other. When he shuffled the deck, he held it in his left hand, as shown in Fig. 58, and with his right fingers, running along the edge from bottom to top, he pulled out cards of only one color from the deck and threw them onto the top of the deck, before placing the middle finger of his left hand between the bottom cards and those that he threw in, thus dividing the deck. During the subsequent shuffle, he moved his fingers only along the edges of the bottom cards, pulling out cards of someone else's color from them until he put them all on top. Until you master the shuffle well, you cannot perform a trick. Having completed the trick, the artist put the cards in a deck in one direction, that is, with the corresponding ends in one direction, and with such a deck he went down into the hall.
The secret of the trick, which the artist showed to several spectators when he descended into the audience, was as follows: when the spectator, having drawn out a card, looked at it, the presenter managed to turn the deck towards the spectator with the end (end) opposite to the one through which this card was taken out. When the card is put back into the deck, it appears out of line with the others. Now, no matter how much you shuffle and remove the deck, it will always be easy to get this card. Returning to the stage (when the artist had his back to the audience), he pulled out one card, remembered it (it was the jack of hearts) and, putting it into the deck, laid it out against the rest. This is what the third focus was based on. Having completed the third trick, the artist bowed and retreated to the back of the stage. So he approached the chair standing on the stage. Pressing his left hand to his chest and bowing his head, he once again thanks those present for their attention; at the same time, with his right hand holding the deck, he leaned on the back of the chair - a completely natural pose. During this time, the performer managed to throw his deck into the sideboard and take another deck from the holder clamp - both devices are attached behind the back of the chair, as you saw in Fig. 3, A. In the replaced deck, four aces lay contrary to the rest of the cards. Before declassifying the final trick, we will have to tell you how the frame and the “magic” pistol, which are used in this illusion, are constructed. Let's start with the frame. We will need two glasses 9x12 cm each; to do this, take old glass negatives of the specified size and wash off the emulsion layer from them in warm water. The remaining parts are cut out of plywood of different thicknesses and glued together; it is best to use PVA glue (polyvinyl acetate emulsion) for this - it is universal and sets quickly. The first thing to cut out from five-millimeter plywood is the back wall of the frame, in Fig. 59, this part is designated by the letter A. A rectangle cut from the middle of the wall (80x110 mm) will serve as a frame cover. The outer side of the back wall and lid is cleaned and immediately painted with any quick-drying paint - its color does not matter. Having cut out two small pinwheel locks (part B) from tin, they are nailed with small nails on the outside of the wall at points a, which are located along the midline at a distance of 10 mm from the internal cutout. At points b, holes with a diameter of 4-5 mm are drilled (at a distance of 10 mm from the outer edge of the wall), small rings are secured in them using tape (part B), the ends of the tapes on the inside of the wall are glued, but one layer of plywood must be removed under them , since otherwise, protruding from the plane, they will interfere with further frilling.
Let's cut out part D from three-millimeter plywood, coat one of its sides with glue, place it on the inside of wall A so that their outer edges exactly coincide, and then dry it under a press. In the meantime, we will also make part D from three-millimeter plywood. Then we will take out the first already glued parts (A and D) and one of the two glasses we have, spread PVA glue on its edges, insert this glass into the U-shaped cutout of part D, and then To do this, apply glue to one side of part D, glue it on top of part D, aligning their edges exactly, and place it under the press. We need to make one more part, similar to part G, we will call it G1; it is glued over part D in a way already known to you. Let's move on to making the front wall of our frame. Just like the back wall A, it is cut out of five-millimeter plywood and exactly according to the same pattern, so we will agree to designate it A1. The difference in working on it is that the piece cut out from the middle is thrown away (it is not needed) and neither locks nor rings are attached to it, and therefore no holes are drilled; The outer edges and edges of the inner window on the front side are slightly rounded using a rasp and sandpaper. Before this wall is put in place, it is necessary to insert our second glass into the cutout of part G1, having previously smeared its edges with glue; then glue is applied to part G1 and the front wall of frame A1 is glued. Under no circumstances should glue be applied to part A1. In Fig. 59, under the letter Z, there is a longitudinal section along the frame. All its parts are indicated on the section, except for one - E, which will be supplied the very last. Pay attention to the bunker - the void that has formed at the bottom of the frame, between the front and back walls. The hopper communicates freely with the void between the glasses. Take fine and homogeneous, well-washed dry sand - preferably river sand. Place the frame with the bins up and pour this sand into it with a teaspoon until it fills the entire space between the glasses, on top of this add another spoonful of sand, after which you can put the last part E in place. This part is made from a wooden block of rectangular section 9X10 mm, its ends are sawn at an angle corresponding to the end bevels of the hopper, since part E is like a lid that locks the hopper. The side edges of the part, those adjacent to the front and rear walls of the frame, as well as its ends, are coated with glue, the part is inserted into the mouth of the hopper with the short side down and in a strictly horizontal position. Once the glue has dried, we can begin finishing and painting our frame. First of all, finish the sides with a rasp and then with sandpaper, and after that start painting the front wall and side surfaces, since we have already painted the back side of the frame. The glass must be completely sealed with paper and only after that the frame must be painted with enamel paint heated in hot water and sprinkled with bronze or aluminum powder on top of it, as we have done before. Once the paint has dried, carefully remove the paper from the glass and remove any rubber glue remaining on it. To the rings that are fixed at the back, tie a cord-pendant of such length that it does not interfere with freely inserting the frame cover into place. Finally, all we have to do is texture the inside of the frame cover with sand. To do this, remove one layer of plywood completely, then apply a rather thick layer of glue to this side with a brush, place the lid with the glue down on sand scattered on the newspaper (exactly the same as what is poured into the bunker) and place a small weight on top. When the glue sets, the lid is lifted, and its inner side seems to be covered with sandpaper, the sand is stuck to it in an even layer. Now our frame is finally ready to display tricks. Holding the frame with the hopper down, insert a paper ruble into it, and then close the lid and lock it with the pinwheels. Now, if you look ahead, you will see a bill inserted into the frame through the glass. Turn the frame over with the bunker facing up - and the ruble will “disappear”: it will be covered by sand that spilled out of the bunker into the gap between the glass. This is the “secret” of this device. Perform the following trick in front of the mirror. Holding the frame facing the mirror and looking into it, turn the frame with the hopper down, at the same time with your free hand make quick rotational movements, as if wiping the glass of the frame and gradually moving your hand down; you will see how gradually and smoothly, as if slowly floating out of the fog, your ruble “appears”. Come up with a scenario for such a trick, and it can be successfully performed on stage. We will tell you about the final trick shown in our session. The magician took two suited sixes from those that we had previously set aside, tore off a corner from one of them, approximately equal to 1/16 of the card, hid this card in a secret pocket under the hem of his jacket, and placed its corner on the table next to the envelope, which will be burned in the future. Showing the frame to the audience, he held it with the hopper down and did not let go of his hands. Returning to the stage and turning his back to the audience, the artist managed to put a six with a torn corner into the frame and turn the frame with the hopper up. That's why, when the presenter hung the frame on the stand facing the audience, they could no longer see the enclosed card. We are not describing the design of the rack here; it can be of any design you come up with; Let's just say that the hook for hanging the frame should be fixed at a height of approximately 1,5 m from the stage floor. The card the spectator tore was the second six, suited and hidden in the frame. Taking the envelope from the table, the artist simultaneously grabbed the corner that was lying there, which he had previously torn off from the first six; He then palmed this corner in the hand holding the envelope. Before sealing the envelope, he pretended to take out a piece of a torn card from it, but in fact he left the viewer with a palmed corner from another card. After burning the envelope, the assistant hung the frame with its back facing the audience and at that moment turned the frame over with the hopper down. This is how the framed map “appeared”. That's all the secrets of this trick. In conclusion, we will tell you how to make a “magic” pistol. Buy an inexpensive plastic revolver at a children's store that shoots paper caps; one of these revolvers is shown in Fig. 60, A. Plastic is easy to saw and drill, so it will not be difficult for you to attach a new barrel with a socket at the end to it. Make this trunk from papier-mâché; For a plastic revolver, before doing this, you need to shorten the front part by sawing it off, as shown in Fig. 60, A with a dotted line. The new barrel is sanded, if necessary, puttied and sanded again, and then the entire pistol, except for the hammer and trigger, is painted with heated enamel and dusted with aluminum powder (silver). You will get a “magic” pistol, as if plated with nickel. Before going on stage, the magician put the paper piston in place and carefully pulled the trigger, holding it so that the piston did not fire. Thus, the pistol turned out to be loaded, and when the shot was fired, the spectators heard a click and saw sparks.
Among amateur magicians, there may be those who consider it an unnecessary trifle to load a pistol with a cap just so that the audience can hear the shot and see the sparks. However, they should object - the better the theatrical performance, the fewer annoying minor flaws it has, the better it is perceived by the public, the greater the effect it has on it. Author: Bedarev G.K.
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