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EFFECTIVE FOCUSES AND THEIR CLUES Second session with cards (several tricks). Focus Secret
Directory / Spectacular tricks and their clues Session description: A spectator invited by the magician rises to the front of the stage. The artist greets him and asks him to take part in the trick. Taking out a deck of cards from his pocket and shuffling it, the presenter invites his assistant to pull out one card from the middle, notice it and show it to the audience; At this time, he himself turns his back to the hall and therefore does not see this card. When the audience has become familiar with the card and remembers it, the presenter, having opened the deck, asks to put the noticed card in the middle, closing the deck, hands it to the spectator standing on the stage, and asks to carefully shuffle the cards. He himself goes to the work table, standing in the center of the stage, and takes from it a bright scarf (approximately 75x75 cm in size). Holding it in front of him by two corners and turning it, he shows the audience both sides of the scarf. The public is convinced that this is an ordinary scarf, without secrets. Having crumpled the handkerchief, the illusionist casually places it on a table that stands separately on the proscenium. Then he approaches the spectator, who is still shuffling the deck, stops him, takes a salt shaker with “magic” powder from his pocket, sprinkles it on the deck and the spectator’s hands holding it, and then asks his assistant to fan out the deck, facing the audience, and shuffle cards and show the audience where the noticed card is located after such a thorough shuffling of the deck. However, no matter how much the spectator goes through the deck, the card he noticed is not in the deck. Then the host offers to check the cards, passing them to him one at a time (in case the cards stuck together). Each card received from the spectator-assistant, the artist shows the public and counts the cards aloud. There were only thirty-one of them, the one that was seen by the audience was not among them. The artist asks a volunteer spectator to check if the card has accidentally fallen into his pocket; Having checked all his pockets, the viewer does not find it there either. The magician is clearly upset by the loss. "You see, it's not just a shame that the card disappeared, but it's a shame that the whole deck is ruined because of this. Let's think together how to save the day." He thinks for two or three seconds and, as if having come up with something, invites his assistant to the table on which lies the handkerchief. Having previously sprinkled with "magic" powder and put the salt shaker on the table, the artist asks the spectator-assistant to carefully take and shift the crumpled handkerchief to the palm of his left hand, and then carefully unfold it. That is where the missing card is located. A handkerchief is thrown to the assistant who has left. This gives those present an extra opportunity to make sure that the scarf is the most common, without secrets. The found card is returned to the deck. The presenter thanks the volunteer spectator for his help, and he leaves the stage. Shuffling the cards, the artist returns to the table for the salt shaker left there, takes it, goes to the middle of the stage, sprinkles the “magic” powder on the deck and hides the salt shaker in the outer pocket of his jacket. Then he takes one card from the top of the deck and lifts it up; spectators see the ace of diamonds in his right hand (Fig. 61). A quick wave of his hand - and the magician is no longer holding an ace, but a nine of diamonds; one more sharp swing - and in his right hand there is not a nine, but a three of diamonds; the next swing - and the three turned into the five of diamonds; a wave - and the magician again has the ace of diamonds. The illusionist puts a card in the middle of the deck, which he takes to his work table, where he also leaves a salt shaker with “magic” powder, bows to the audience, pauses, and then moves on to perform the next trick...
The presenter takes a bright box from the working table, opens it, shows the public that there is nothing in it (see Fig. 24), closes the lid and puts the box on a table near the ramp. At this time, the assistant takes out a second table of the same kind and places it at the opposite end of the proscenium; he puts a tray on it, and on top - a deck of cards, he himself remains on the stage near this table. The artist, from the middle of the proscenium, silently watched the work of his assistant until he finished it, and then addresses the audience. - The deck that lies on the tray contains 32 cards of four suits: diamonds, clubs, wines and hearts; each suit has eight cards from seven and above - the assistant lifts the deck, opening it like a fan, shows the cards to the audience and puts them back on the tray. “Here you are,” the presenter addresses one of those sitting in the first row, “I ask you to name any two suits out of four.” - Diamonds and clubs! - he calls. - And you, - says the artist, referring to another viewer, - name the other two suits. - Blame and worms! - follows a natural response. - Name one of them! - asks the artist of the same viewer. - Worms! - Very well, let there be worms! I ask you, comrade, sitting on the edge in the fourth row, to name any four cards of hearts. - Ace, queen, ten and eight of hearts! - Name two of them! he addresses the same viewer. - Ace and queen of hearts! - Name one of them! - the artist asks the next viewer. - Red lady! “Please find the queen of hearts,” the illusionist orders his assistant. He finds the right card and passes it to the leader. Having shown the card to the audience so that they can see that this card is there, the presenter puts it in the middle of the deck held by his assistant, and he puts the deck on a tray lying on the table and goes backstage himself. The magician, rolling up his sleeves, takes out a “magic” wand from the inner pocket of his jacket, then, standing in the middle between the tables, makes “magic” passes, as if ordering the cards to fly from the tray to a box standing on another table; a few passes - and the wand is hidden back in the pocket. Pulling up his sleeves even higher, the presenter approaches the table with the box. Raising his hands and showing both sides of them so that the audience can see that he has nothing in his hands, he takes the box in his hands. Looking slyly at the audience, the artist removes the lid and places it on the table, showing that his free hand is still empty; after that, he turns the box towards the audience, and they see a card in it, which the artist takes out from there. This card is the Queen of Hearts. The artist puts it on the table, leaning against the box. The audience sees her. - Between us should not remain any ambiguities! - the performer says to those present and passes from the stage to the first row to one of the spectators a tray with a deck lying on it, while he holds the tray, emphatically moving away from himself, on outstretched arms. "Please check if there is a second queen of hearts in the deck." After checking, the viewer says that this lady is not in the deck. The artist asks to repeat these words loudly so that everyone can hear. Then he takes from the table the card lying there (the queen of hearts), passes it to the hall so that it is put in its place, and asks for the deck of cards and the tray to be returned to him. The card is passed into the hall so that the audience can see that it is from this deck, which is easy to verify by checking the shirts (picture on the back) of the cards. The illusionist goes backstage, and an assistant appears on the stage, he removes objects that have become unnecessary, and prepares the scene for the next trick. Only one work table of the artist remains on the stage, on it there is a small plexiglass case and two decks of cards. The new trick begins with the fact that, having taken the case, the presenter goes down into the hall, where, moving from one spectator to another, he shows the case. It is a parallelepiped box glued together from transparent plexiglass. Its dimensions are such that a deck of cards fits into it quite freely. The case has no visible secrets. Having walked around 6-7 people sitting in different rows, the artist goes onto the stage, puts the case on the table and, grabbing one of the decks, goes back down into the hall. He invites the spectator sitting in the first row to draw from the deck and keep one card; he offers the same to two other spectators sitting near the middle aisle in the third and fifth rows. The magician does not see these cards and does not know them. An assistant is waiting for him on the stage with a tray, on which the artist returning from the hall places the used deck; the assistant takes it backstage. The illusionist goes to the table, takes the deck lying there, lowers it into a transparent plexiglass case, takes the box of cards in his right hand and holds it so that the cards face the audience and they see the first card through the transparent wall of the case. Moving a little forward from the table, the artist says to the audience: “With the help of this simple device, which you had the opportunity to get acquainted with, I will try to determine which cards the spectators drew from the first deck. I ask the comrade sitting in the first row to stand up, and the one he has the card, turning its face towards itself, is raised above its head so that the spectators sitting behind it can see it; I, naturally, should not see it.” When the spectator raised the card, as was required of him, the artist, lifting the case with cards higher, turns to him: “Magic box, reveal to us the secret of this card!” A moment passes - and the card begins to slowly rise up from the case. The astonished spectators see that the king of clubs rises from the deck, that is, exactly the same card that the spectator holds above his head. When most of the card has risen above the deck, the artist takes it out of the case without lowering it. "Is the card correctly guessed by my magic apparatus?" he addresses a standing spectator. "Turn your card to face me! As you can see, the answer is absolutely accurate!" The artist stops the applause that has arisen with a gesture and continues the trick. At his request, a spectator from the third row stands up with a card raised, and a new card appears from the magic case, exactly the same as in the spectator's hand. In the same way, the card that the spectator from the fifth row had was recognized. The case and the deck taken out of it are placed on the table, and the magician bows to the audience. The assistant, having moved the magician's work table to the back of the stage, removes all the objects from it onto a tray and takes them away from the stage. An office-type table (but without cabinets, simple, on legs) is brought out from behind the scenes and placed in the middle of the proscenium with the long side facing the audience. Two chairs are also brought out, they are placed one at a time at the short sides of the table. During all these changes, the artist can remain on stage or take a short rest. When the scene is ready, the manipulator turns to those present: “Are there any accountants among you, comrades: accountants, cashiers and people of other similar professions. I need two people who can count well as assistants. No, no, don’t be afraid: I won’t load you with complex counting work, the matter, as they say, is the most trifling." When two spectators rise onto the stage, they are seated on chairs that stand on the end sides of the table, and the artist stands at the table between the seated assistants, facing the audience. Taking a deck of cards out of his jacket pocket, he puts it in the center of the table, asks one assistant to stand up and, taking the cards in his hands, count them aloud, throwing them on the table so that the audience in the hall can not only hear, but also monitor the correctness of the count. . Throwing the last card on the table, the counter says: "Thirty-two!" Having asked those present whether the count is correct, the artist must receive a unanimous answer from the audience that the cards have been counted correctly. But if there is at least one among the spectators who does not agree with this, the artist invites him to the stage and forces him to count the cards in the manner described. Having counted the cards and confirmed that there are exactly thirty-two of them, the spectator goes into the hall. And only then the magician begins to continue the trick. Having leveled the deck, he places it in the center of the table. The assistants are asked to sort the cards, dividing the deck into approximately two equal piles. The assistants place these stacks of cards face down, directly in front of them. The artist first asks one of them to count out loud the cards lying in front of him, moving them one at a time from himself. Having counted, he, for example, says that he has fourteen of them. “Well, approximately right, almost half the deck.” Following this, the leader moves the counted cards closer to the counter, to the place from which he began counting them, and turns to the second assistant with the same request. Having shifted his cards one by one, he says that he has seventeen cards. “That’s also correct,” the magician says, moving the counted cards closer to the second assistant, “almost half... But wait: 14+17 is only thirty-one cards. We’ll have to start all over again.” Slightly moving the deck away from the first assistant, the manipulator asks him to count the cards again in the same way. The cards are counted and there are seventeen of them. “Something is wrong again: 17+17 is already 34.” Pushing the counted stack of cards towards the assistant, the magician asks him to put his palms on top of this stack and hold the cards tightly. Moving the stack slightly towards the middle from the second assistant, the artist asks him to count the cards too. He turned out to have 12 of them. The magician pushes the counted cards towards him and asks him to cover them with his palms and hold them tightly. “Every hour it doesn’t get easier: 17 and 12 cards are only 29, not 34 or 31.” The assistants count the cards again. The first has 20, and the second has 8. The magician takes a salt shaker from the outer pocket of his jacket, sprinkles “magic” powder on his assistants, and places the salt shaker on the table. “Now it turns out that the deck has been reduced to twenty-eight cards. I’m afraid that if we continue to count it, what good, it will disappear altogether. I thank you,” the presenter collects the cards into one deck, shakes the hands of the assistants, “ I understand that you have to deal with larger numbers and therefore thirty-two cards is too small for you." The hall cheerfully perceives this trick joke. The artist sees off his assistants, responding to the excitement in the hall with a cheerful smile. This concludes the second session with the cards. This session, like the first, consisted of several separate tricks; Thus, you have the opportunity to change their places, transfer them from one session to another, and also supplement the sessions with other tricks known to you. Focus Secrets: The first of these was as follows: when the spectator, called to the stage, showed those present a card that he had drawn and then put it in the middle of the deck, which was in the hands of the manipulator, he, having made a volt (see Fig. 13), palmed this card in his hand (see Fig. 14) and passed the deck to the spectator for shuffling without this card.
Taking a scarf from the table and holding it by two adjacent corners in front of him, unfolded in the form of an apron, the artist showed both sides of the scarf to the audience; he did it this way - the hand in which the card was palmed remained motionless, and the second (free) hand, holding the other adjacent corner, passing over the first, turned the scarf inside out towards the audience, which is why they did not notice the card hidden from them. In this way, the conjurer was able to discreetly put a card inside the crumpled handkerchief and then laid it on the table. He deliberately “forgot” the salt shaker on the table. The end of the trick was ordinary, pre-provisioned according to the script. Coming to the middle of the stage, the presenter began the second trick. He held cards in his left hand and a salt shaker in his right, standing with his right side towards the hall. When he was hiding the salt shaker, he turned to the audience with his left side, at this time he managed to take a card in his pocket and palm it in his right hand, and then pretended to take it from the top of the deck, and raised the ace of diamonds. He needed the salt shaker in order to have an excuse to put his hand in his pocket for a card. This is only part of the secret of this trick, the main one is contained in the card. It is made of thick paper by the magician himself, its dimensions correspond to ordinary cards, but it has a double-sided image (Fig. 62).
On one side of it there is a strange two, on the reverse there is an equally strange seven, reminiscent of an unfinished nine, but this is precisely one of the features of the secret of the card. If you show it to the audience with the side on which there are only two points, and cover one point with your thumb, then the audience will see the ace of diamonds (Fig. 63, A).
This is exactly what our artist did. Swinging your hand sharply from top to bottom and back and at this moment turning the card 180 ° along its long side, hold it as shown in fig. 63, B. The audience will see the nine of tambourines, not suspecting that your thumb hides the defect of this nine from them. The second sharp wave - and the card, rotated by 180 °, but already along its short side, "turns" into a three (Fig. 63, B). The spectators are not aware that under your thumb, this trio lacks a whole point. Another wave - and the card, rotated 180 ° along its long side, "turned" from a three into a five (Fig. 63, D). In this case, the thumb hides already three points that have become superfluous. Waving his hand and once again turning the card along the short side, the magician "turned" it into an ace and then put it in the middle of the deck. If you carefully read the dialogue that the artist conducts with the audience in the third trick, you will understand that the magician forced them, through gradual elimination, to name the card he had previously chosen, in our case the queen of hearts. In cases where the audience named the wrong suit or cards, the artist forced them to name the remaining suit or cards left unnamed. The secret, as you can see, is simple. When the presenter put the queen of hearts shown to the audience back into the deck, his assistant, before putting the cards on the tray, made a volt, palmed the lady of hearts that was on top in his hand and took it away with him - this is how this card "flew" from the deck. As for the box participating in the focus, you are already familiar with it from the focus flights and therefore they guessed that the queen of hearts that “flew” into it was taken by the magician from another identical deck and was previously hidden by him under the overlapping bottom of the box. You already know how to process and glue plexiglass, so you will be able to make the case that the artist shows the audience when starting the fourth trick of this session. It is only necessary that the upper edges of the case rise 5-8 millimeters above the deck and are rounded with a file, well sanded and, if possible, polished using a round metal or wooden rod. The deck from which the spectators take one card each is not quite ordinary; it is a so-called forced deck. Forced decks are called decks that consist entirely of homogeneous cards or several layers of homogeneous cards - our deck consisted of 30 cards of three values, lying in three separate layers. The top layer is 10 kings of clubs, the middle layer is 10 nines of clubs and the bottom layer is 10 jacks of diamonds. Approaching the spectator sitting in the first row, the magician fanned out only the top 10 cards in front of him and invited him to choose any of them. Thus, any chosen card will certainly be the king of clubs, but only the artist himself knows about this, and the viewer does not know. Approaching the second spectator, the illusionist collects the top cards in a pile and holds them with his hand, and in front of the spectator he unfolds 10 middle cards (that is, only nines), one of which the spectator takes. The third spectator takes one of the cards from the bottom layer of the deck (Jack of Diamonds), fanned out in front of him. It is curious that for spectators who are not privy to the secret of the deck, such a “selection” of cards seems to be the most random, since they “choose” them from different parts of the deck. Knowing in advance which cards will be chosen by the audience, the illusionist in a special way "charged" the deck, which must "guess" the cards that the audience has. How the deck was "charged" is shown in Fig. 64, where the numbers indicate the cards in the order of their appearance; for our case, under the number 1 is the king of clubs, 2 is the nine wine, 3 is the jack of diamonds. The mechanism that pushes the necessary cards out of the deck is a strong black thread looping inside it, which you see in the picture. One end of the thread is tightly attached to a piece of thick white paper, exactly matching the shape and size of the map. Having placed a stack of four or five cards (face down) on the table, a sheet of a is placed on top of them - a thread is pulled along the middle line of this sheet, as shown in our figure, it is also covered with a stack of several cards; then the thread is pulled along the top of these cards, but in the opposite direction, and then the card that should appear last is laid (in the figure it is marked with the number 3); clasping this card in a loop in the middle of the lower edge, the thread is pulled upward, covered with a stack of 4-5 cards and, continuing to loop in the manner described, encloses the remaining two cards (2 and 1) in its loops - you can see this in our diagram. If the deck prepared in this way is inserted into a plexiglass case and pulled by the end of the thread according to the direction of the arrow downwards, then the necessary cards, one after another (in the order of their numbering) will rise above the deck, pushed out by thread loops covering their lower edges.
This “charged” deck was the second one on the table. The free end of a pulling thread 1,5-2 m long coming out of it was attached to the base of the table. Taking the case with the deck inserted in it, the magician had the opportunity to move away from the table as far as the length of the thread allowed (Fig. 65, A). He held the case in such a way that the thread, coming out of it, passed between the index and middle fingers of the artist’s right hand (Fig. 65, B), in this way he restrained the thread from lateral displacement and could more accurately determine the degree of its tension. The magician, moving away from the table, moves slightly to the right, covering the thread going to the base of the table, so the audience does not see it. It should be remembered that during sessions there should not be any light sources behind the presenter, especially in this focus, as this can lead to the disclosure of his secret.
Standing in this way in front of the audience, it is enough for the artist to slightly push his right hand forward, as the card “appears” from the deck, which the viewer has from the first row, and then the rest of the “charged” cards. The illusionist does not allow the cards to come out of the deck completely, but only halfway and takes them out of the deck with his hand, because otherwise the next card may begin to "appear" earlier than it is provided by the scenario. The last card can be allowed to come out completely, you can even force it to jump out of the deck with a sharp pull on the thread. The ending of the trick will look very good and impressive if you are able to take the deck out of the case, put it on the table, and with it, discreetly leave a piece of paper with a thread attached to it. In this case, the deck can be handed over to spectators for inspection, but this requires sufficient experience. If you want to show the ending, moving away from the table at a greater distance, then the free end of the thread should be attached to a small carnation, specially driven into the floor of the stage at some distance from the table. It is possible, by shortening the pulling thread, to attach a small hook to its end and with its help fix the end of the thread directly on the magician's costume. Then the artist gets an unlimited opportunity to move around the stage. To fully complete the description of this trick, it remains for us to say how to acquire a boosted deck; Naturally, it is impossible to make it with your own means, and there are no such decks on sale. Therefore, several people pool together to buy ten identical decks of 36 cards each. From these you can make twelve three-layer forced decks of 30 cards each. It is advisable that the owner of two or three forced decks have another normal deck of cards for them, the same in design and color as the forced one, then he will be able to replace the decks, which allows them to be used more widely in other tricks. A few words about the variant of the fourth trick. Having allowed the audience to draw 3 “any” cards from the deck, the magician “guesses” them using another deck. Shuffling it in the most thorough manner, he suddenly shows the cards that are in the hands of the spectators, and then clearly names who is holding which card. You obviously guessed that the second deck was specially cut, we described it in the first card session, and the guessed cards were placed in it contrary to all the others. We present this trick as an example of the fact that an artist can come up with new shows using the same devices and devices. Moving on to revealing the last trick in this session, we must warn that this trick can only be performed by people with large hands, since it is all based on the artist’s ability to palm several cards at the same time. When thirty-two cards were counted correctly and there were no doubters in the hall, the artist straightened the deck and at that moment took one card and hid (palmed) in his hand. This makes it clear why, after counting the cards, which were divided approximately equally, the spectator-assistants were missing one. When the first assistant announced that he had 14 cards, the leader moved the counted cards closer to him and placed a palmed card - there were already 15 of them. After the second assistant counted seventeen cards, the manipulator moved the cards closer to the counter and at that moment removed 3 cards from above, palming them, - so there are only 14 cards left. Turning again to the first assistant, the magician slightly moved the cards away from him and put two of the three palmed cards on top of the fifteen that he had, so there were 17 of them. When the leader showed how to keep his hands on top of the pile, he put the third palmed They have a card to add to those seventeen - there are already 18 cards. Before the second assistant begins a new recount, the artist slightly moves the stack of cards away from him and manages, by palming, to remove two cards from the fourteen remaining there, hence the result - 12 cards. The artist adds these two cards to the eighteen that remained with the first assistant, the result is 20 cards. Before the second assistant begins the final count, the manipulator takes, palming, four cards out of twelve, leaving the second assistant with only eight cards. The last four cards, palmed by the artist, are hidden by him in the outer pocket of his jacket when he takes out the “magic” salt shaker from there. This trick is perhaps the most difficult to perform of all those we have previously described, since it requires the artist to completely master the technique of palming cards in the palms of their hands. The trick needs to be performed in a fun and relaxed manner - it is very effective. Until you manage to master the complex technique of performing the last trick, you can end our session on the previous (penultimate) trick. In terms of its spectacular qualities, it is quite suitable for the end of the performance. Author: Bedarev G.K.
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