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A session with scarves (several tricks). Focus Secret

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Session description:

The host of the session, having stepped on the stage, greets the audience. Taking a cigarette out of his cigarette case, he wants to smoke, but finds that he has no matches, claps his hands, and his assistant appears from behind the scenes with a lit candle, from which the artist lights up. The assistant with the burning candle remains on the stage. The magician, pulling up his jacket sleeves and exposing his wrists, takes a sheet of newspaper from the table, shows both sides of it to the audience and hits it with his hand, proving to the public that they have before them the most ordinary newspaper, without any secrets. From this sheet, he rolls up a tyorik and, showing that there is nothing in it, takes a burning candle from an assistant and places it inside the tyurik. The assistant goes backstage.

Spectators see through the tyurik the light of a candle burning inside it; the artist, turning to the sides, shows this to everyone present and suddenly with a sharp movement crushes the tyurik and the candle in it into a small lump. Having crumpled it to the audience, he carefully and slowly breaks through the paper, slowly, in parts, pulls out a small bright handkerchief from the lump, and throws the lump backstage.

Throwing a handkerchief over the left fist, as shown in Fig. 66, the performer sprinkles it with "magic" powder and hides the salt shaker in his pocket, and then presses the middle of the handkerchief with the thumb of his right hand inside his left fist. In the depression thus formed, he shakes off the ashes from the cigarette, using it as an ashtray. The face of the artist clearly shows that he is very pleased with his invention.

Fig. 66

After taking several puffs and each time flicking the ashes into his "ashtray", he then extinguishes the burning cigarette butt in it, pushing it inside with the thumb of his right hand, and, blowing a puff of smoke on his left fist, takes the handkerchief by two adjacent corners and shows it to the audience . The handkerchief is intact, there are not even traces of ash on it, which, of course, causes the surprise of the audience.

After a short pause, the illusionist sprinkles the handkerchief with "magic" powder, ties a single knot on one of its corners and puts the handkerchief on his finger. The handkerchief stands as if a rigid rod is inserted into it (Fig. 67). Balancing with a handkerchief, the magician walks around the stage so that the audience can see the effect of this trick. Then, having untied the knot, he crumples the handkerchief, and the audience is convinced that there is no rod in it.

Fig. 67

Putting a handkerchief on his shoulder, the illusionist takes a bright box from the table, opens it, shows the audience its empty interior, painted black, and, closing the lid, puts the empty box on a table standing by the ramp. Having removed the handkerchief from his shoulder, the leader moves away from the table a few meters and, turning to face him, standing sideways to the audience, stretches his hands holding the handkerchief forward (Fig. 68).

Fig. 68

Slightly shaking his hands, he begins to slowly and gradually draw the handkerchief between his palms, and then, blowing on them, opens his palms, and the audience sees that the handkerchief has disappeared, evaporated without a trace. The magician's hands are empty. He goes to the table, takes the box, removes the lid and turns the box upside down, holding it as far away from the lid as possible - a missing handkerchief falls from the box into the lid. The box and lid are put on the table, the artist, having shown the audience a handkerchief, leaves the stage, and an assistant takes his place - he removes the table and the objects lying on it from the stage.

The magician appears. He thanks the audience for the applause and, as if yielding to the desire of those present, begins another trick.

Taking out a colorful bright handkerchief from his jacket pocket and holding it by two corners, the artist shows it to the audience, throwing it up, catches it and only then notices that there are huge black spots on the handkerchief. The presenter is embarrassed, asks those present to excuse him for the slip. Carefully, with two fingers, so as not to get his hands dirty, he takes out a bottle of mascara from his pocket - the reason for the origin of the spots on the handkerchief becomes clear to the audience. The assistant picks up the ink and takes it away. The host thinks: what should he do with a soiled handkerchief? Suddenly his face brightens, he has thought of something. He takes a small elegant box from the table (Fig. 69, A), showing all its sides from the outside, removes the paper clip and, unfolding the box in front of the audience in the form of a pattern (Fig. 69, B), shows the inside of the box - it is completely black.

Fig. 69

Then the illusionist folds the pattern along the folds, fastening it with a paper clip, again demonstrates the box, showing all six of its sides, and, putting a scarf with spots in the box, closes the lid. After vigorously shaking the box several times and making "magical" passes, he takes out a completely clean handkerchief without stains, looks at it for a long time and stubbornly, turning in front of his eyes - then bringing the handkerchief closer, then moving it away from him. The magician is clearly unhappy with something. Then, as if having made up his mind, he puts the handkerchief back in the box and, after a few vigorous shakes, takes out the handkerchief dyed a different color. "Not a box, but a real chemical laboratory," says the artist, again showing the audience the unfolded box. Having folded and fastened the box, he gives it to the assistant who came to the rescue.

Putting the handkerchief into the outer pocket of his jacket, but in such a way that one end of it sticks out, the artist goes to the table and, taking a small hollow tube there, shows it to the audience, looks through the tube, putting one end of it to the light source, makes it possible to make sure present that this is the most common tube with thin walls, glued from colored paper.

Then the illusionist takes out a handkerchief, the end of which sticks out of his pocket, holds it by the middle, as shown in fig. 70, A, and, bringing the tube under it, turns it horizontally and puts the handkerchief into it with the index finger of his right hand (Fig. 70, B).

Fig. 70

The handkerchief gradually disappears completely into the tube and is shown from its other end, but it has changed color. The magician, also slowly, gradually pulls out the handkerchief completely, throwing it up and catching it, takes it by the middle, as already mentioned, pushes it again from the original end through the tube, and it changes color again. Having passed the handkerchief through the tube for the third time, the illusionist returns it to its original color. Having put the handkerchief on his desk or given it to an assistant, the presenter comes closer to the audience, and may even go down to the front rows to finally convince the audience that the pipe has no secrets. This trick is very effective and is perceived with great interest by the audience. It must be shown without undue haste. This is where we end our session.

Focus Secrets:

The cigarette with which our artist began the show of the first trick was an ordinary one, but without a filter and cut off in advance by one centimeter. The candle from which the cigarette was lit was a hollow paper tube glued onto an ordinary candle; a small stub of a real candle was inserted into one of its ends and the stearin was melted in the form of smudges, as happens with all candles. Such a "candle" cannot be distinguished from the real one. A small bright handkerchief was placed in the middle of the tube before the session. Before showing a trick, you need to learn how to crush a tiurik with a burning candle in it. The magician holds the tyurik in his left hand, first of all with the thumb and forefinger of his right hand, holding the wick, extinguishes the candle, and only then crushes everything into a ball.

Breaking through the crumpled paper, the artist bends its torn edges up, protecting with them the place from which the handkerchief will be removed, so that the audience cannot accidentally see the crumpled "candle", since our secret is contained in it.

Hiding the salt shaker in his pocket, the artist puts a short thimble on his thumb (Fig. 9, D), and pressing the middle of the handkerchief inside his left fist, leaves it there.

Ris.9

The thimble also serves as an ashtray into which the magician shakes off the ashes; when he extinguishes the cigarette butt, he again puts the thimble on the thumb of his right hand and takes it out of the handkerchief, so that the handkerchief did not burn out and was not soiled with ashes. Under the cover of a puff of smoke, the audience did not notice the thimble, and then it was already hidden by the corner of the handkerchief held by the magician. Taking out the salt shaker, the presenter leaves the thimble in his pocket.

In order for the scarf to stand on the finger, a strong thread with oblong-shaped beads strung on it is sewn into one of its edges, inside the hem (Fig. 71, A). Beads can be successfully replaced by a thin plastic tube, sawn into small links. The thread (Fig. 71, B) should be of such thickness that the beads can move freely, but do not dangle on it from side to side. The length of the thread corresponds to the side of the scarf, and the beads do not reach the end of it by 3-4 cm; thus, the handkerchief can easily be wrinkled into a small lump, the beads will not interfere with this. However, if all the beads are moved to one end of the thread and, pressing them tightly against each other, fasten in this position, then they form a single elastic rod. This is exactly what the artist did, and then, tying a knot, he fixed the beads into a single rod. He put this rod on the finger of his hand and, balancing it, walked around the stage - this is not difficult.

Fig. 71

The box, which at first the artist shows empty and into which the handkerchief then “flies”, is already familiar to you; before the trick began, a handkerchief of the same color and size as the one in the hands of the illusionist was hidden under its falling bottom. Putting the box upside down and moving away from the table, the conjurer takes out from a secret pocket (from under the hem of his jacket) a sleeve of pulling mechanics (see Fig. 8, D) and palms it in his hand.

Ris.8

Standing sideways to the audience and stretching his arms forward, he clamps the cartridge case between his palms. Moving the fingers of the hand facing the audience, only to "take his eyes off", he pushes the handkerchief inside the sleeve with the other hand. When the handkerchief is hidden in the sleeve, the artist opens his palms, the elastic band pulls the sleeve with the handkerchief under the jacket, and the presenter imitates a gesture with his hands, as if the handkerchief fluttered out of his hands. That's all the secrets of this trick.

Starting the next trick, the presenter found black spots on the handkerchief and took out a bottle of ink from his pocket - "the cause of evil." Of course, you guessed that the bottle was without mascara and completely dry - it was pure props provided by the script, and the presenter himself made the stains on the scarf in advance. The secret of removing stains and repainting the handkerchief in a different color lies in the special arrangement of the cardboard box used by our illusionist; it is shown in fig. 72. Under the letter A is a detailed pattern of this box with all the necessary dimensions; note that there is a rectangular (70x100 mm) window in the back wall of the pattern. A swinging sideboard, also made of thin thick cardboard, is embedded in this window; it is shown in fig. 72, B. The sideboard is divided by a partition into two independent departments. Figure 72, B shows the finished box in expanded form, when the artist shows it to the audience; the sideboard in this case is on the side that the audience cannot see. When the box is folded and fastened, the sideboard is inserted into the box by the artist, and again the audience cannot see it.

Fig. 72

Before the session, the magician put two handkerchiefs into one of the sections of the swinging sideboard: the first - the one that will be taken out second, and on top of it - a handkerchief without spots, but matching the color of the handkerchief with spots. During the performance, the illusionist puts the soiled handkerchief in the free compartment of the sideboard located inside the box, and then, after shaking it, takes out a clean handkerchief from the other compartment. He does exactly the same when he "dyes" the handkerchief a different color.

As you understand, the secret of our box allows you to show many other different tricks. Well, if you make two such boxes, with their help it will be possible not only to remove stains and make scarves change color, but also to show various "flights", "disappearances", "appearances" of scarves, etc.

Since during the show of tricks the box has to be folded, then re-deployed, and the sideboard moved from side to side, for the strength of the box it is better to make it from separate cardboard parts pasted on a piece of black material (such as calico or satin), which will be internal ( black) finish of our device and at the same time will not break on the folds. Everyone can choose the exterior finish to their liking.

It remains for us to tell how the handkerchiefs passed through the tube change color. To do this, you will have to make the device shown in Fig. 73. Take an ordinary stearin candle with a diameter of 25 mm and on it, like on a blank, glue a tube 5 mm long from 6-50 layers of paper (Fig. 73, A). Without removing this tube from the blank, let it dry, and then, after wrapping it in one layer of newspaper, glue the second tube on top of it from 4-5 layers of paper; when this tube also dries, they are removed from the blank. The smaller tube is cut into three parts (Fig. 73, A).

Fig. 73

A small cloth bag b is sewn to the middle part through the holes pierced in it (Fig. 73, B). Next, they take one of the parts a, smearing it on the outside with glue, insert it into the tube b and, having leveled the cuts, glue it. Lubricated with glue (outside) a ring with a bag, it is also inserted into the tube in, but from the other end, and, pushing into the middle, glued close to part a; then the second part is already glued and close to the middle ringlet. Thus (Fig. 73, B), we got one of two tubes with a cloth bag fixed inside it. If, when gluing inside the tube, glue comes out through the joints, it must be removed with a damp cotton swab.

When the glue dries, a scarf is sewn to the end of the cloth bag in the middle with a strong thread of the same color as the scarf (Fig. 73, D); the sewn handkerchief is pushed inside the tube until it is completely in the cloth bag, the end of which will then come out on the opposite side of the tube, then exactly the same handkerchief is sewn to this end of the bag, as described above. So it turned out that one handkerchief sewn to the bag hangs on a thread outside the tube, and the second exactly the same handkerchief sewn to the bag is inside it in the tube; push inside the tube (one at a time) two more scarves of the same size, but of different colors (Fig. 73, E).

Let us put the tube loaded with a handkerchief aside and make another tube r, shown in Fig. 73, E. It is made from 5-6 layers of thin bright colored paper on a blank, which has a diameter slightly larger than the tube in, so that the latter can freely enter the tube d. Now everything is ready to show our trick.

The pipe, loaded with handkerchiefs (1, 2, 3 - Fig. 73, D), wrapped in a handkerchief sewn to it, the magician hides in the outer pocket of his jacket, in a small bag (pocket) that is there, before the trick begins.

Finishing the previous show, the artist put the handkerchief he worked with into the same pocket, leaving the end of the handkerchief sticking out. He did this deliberately, so that the audience would think that he was continuing the new show with the same handkerchief; in fact, the illusionist replaces it with the one in which the pipe is wrapped in, lying in the bag. However, the public does not notice anything, since these scarves are the same in color and size.

So, having familiarized the audience with pipe d and taking out a handkerchief sewn to pipe c from the bag, the magician holds it by the middle (Fig. 73, G). The audience is unaware that a pipe is hidden under the scarf. With the other hand, he brings the tube d under the handkerchief (as indicated by the arrow in the figure) until the tube c enters completely into it, and only then turns the tube d into a horizontal position (Fig. 70, B) and pushes inside its protruding outward part of the scarf. At the same time, the artist holds the tube b in place, squeezing the walls of the tube d with his fingers, and thus pushes the handkerchiefs in it one by one out of the bag - this is how they "change" their color.

When the magician pushes the handkerchief through the tube for the third time, he must hold the tube, slightly raising its exit end, and when he firmly and securely pushes the last handkerchief into the tube, he pushes this tube forward and a handkerchief appears in the exit hole, the tube g must be held vertically ( outlet upwards). In this position, the conjurer gradually, in parts, pulls the handkerchief out, hanging its ends around the tube d, and then, taking the handkerchief by the middle, takes out the pipe with it with the handkerchiefs inside it - in this way he hides under the handkerchief the "secret" of our focus - tube in.

Author: Bedarev G.K.

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