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EFFECTIVE FOCUSES AND THEIR CLUES Session with coins and banknotes (several tricks). Focus Secret
Directory / Spectacular tricks and their clues Session description: In the middle of the stage there is a work table for the illusionist, on it are the items necessary for the session. On the proscenium there is another small table without a tablecloth, next to it there is a chair, and a little further away there is a light pendant bar. The presenter invites one of the spectators to help him perform the trick; If there is a woman among those willing, preference will, of course, be given to her. When the spectator has ascended to the stage, the magician sits him on a chair, and he himself goes down to the auditorium and asks those present to lend him a paper banknote, which he undertakes to return at the end of the trick. The artist approaches the viewer offering money, gives him a piece of paper and a pencil and asks him to write down for memory and save until the end of the session the number of the loaned bill; then he hands over a small envelope, into which the spectator seals his money, unfolded. As directed by the presenter, a cross mark is placed on the envelope where it is sealed with a pencil. In this form, the envelope is placed in a scoop that the artist brought with him (we will describe it below). Holding the scoop in front of him, the artist takes the money to the stage. Without touching the envelope, he passes it to the assistant spectator, who takes it from the ladle with his own hands. The magician's assistant takes the scoop backstage. The artist asks to inspect the envelope and tell those present what marks are on it. The assistant-spectator says that the envelope is sealed and that there is a mark on the sealing site - a cross made in pencil. This ensures that the envelope is delivered intact. The artist asks a volunteer assistant to hold the envelope up to the light to see if there is a banknote inside; he, having looked, replies that the money is in the envelope. “Can you see the bill number?” - asks the presenter. Naturally, the answer he receives is negative. Then the magician asks his assistant to bring a candle. He brings out a small piece of a burning candle in a candlestick on a tray. He places the tray on the work table and transfers the candle to the table that stands on the proscenium. However, the magician demands to bring a tray, which the assistant does by placing the candlestick on the tray. The illusionist asks the volunteer assistant to try again, this time to read the number of the bill sealed in the envelope against the light, but he does not see the number. Then the magician, placing his hands on top of the hands of the assistant holding the envelope, moves the envelope towards the candle flame itself, but the viewer still does not see the number. The matter ends with the fact that the envelope, which is held by four hands, having fallen into the flame, burns completely, leaving only ashes on the tray. It is felt that the artist is upset by what happened. Something like the following dialogue takes place between him and the viewer-assistant: - How awkward it turned out for you with money, - says the artist. - So it was you, having mastered my hands, burned the envelope. Why am I here? - How does this have anything to do with it: after all, you couldn’t see the numbers on the bill, not me. It's not my fault that you have poor eyesight. - Vision has nothing to do with the envelope you burned. - In the end, it doesn’t matter who is to blame, but you can see how upset the comrade who lent us the money was! A ruble is not a lot of money, and we will return it to him, but he wrote down the number of the burnt banknote. I can’t imagine how to do this. The presenter thinks. Then, having realized, he takes a small frame (empty) from the desktop and hangs it facing the audience on a hanging bar. Taking out a piece of paper from his pocket, he addresses the viewer. “I ask you to help me. We have a common guilt, and we need to get out of the situation through joint efforts. Scatter the ashes from the tray into this paper” (hands the paper to the assistant spectator). He collects the ashes in a piece of paper, and the artist takes out a “magic” pistol from his pocket and works with it. At this time, an assistant appears on stage with a paper target. Showing his hands and both sides of the target, he pins it on the back of the frame and leaves the stage. The ashes are collected and wrapped in a piece of paper, which the illusionist loads from the muzzle into his pistol. Then he takes aim, shoots at the target and, having blown out the “magic” pistol, puts it in his pocket. Having removed the target, he turns the frame to face the audience - everyone sees a paper ruble in the frame. The artist calls a volunteer assistant, opening the frame, and invites him to take money out of it, which he does. The performer, looking into the hall through the glass of the frame, puts it on a table standing on the proscenium, and turns to the assistant spectator: “I hope you can now see the bill number, read it loudly so that everyone can hear!” He calls the bill number. "Is this your number?" - the artist asks the viewer who lent the money. "Yes, mine!" - the viewer answers. “All’s well that ends well,” sums up the illusionist. He thanks the volunteer for his help and, escorting him from the stage, asks him to do one last favor - to transfer the money to its owner. The assistant leaves, taking the money. When the ruble is returned, the artist from the stage asks the owner of the money to once again loudly confirm that he has been returned the same ruble that was taken from him. The viewer confirms this. This trick enjoys constant success with the public and makes a strong impression on them. Before starting the next trick, the illusionist leaves the stage, giving those present time to experience what they saw. Returning to the stage, the performer tells those present: “You have just seen a rather complicated way of restoring money from the ashes. However, there are other, simpler ways of getting money from nothing. Look!” He brings a small device from his workbench and places it on the table near the ramp, consisting of two rollers that simultaneously rotate in different directions if you turn the handle. The artist turns the handle one turn - the rollers also turn. “You think these are rollers from a washing machine, between which they wring out clothes? You’re wrong. Look!” He takes a small rectangle of white paper from his pocket, showing both sides of it and inserting it between the rollers, turning the pen. The white piece of paper, passing through the rollers, turns into a real paper new crispy ruble. Having shown it from both sides, the artist puts the ruble in the breast pocket of his jacket and passes two more pieces of paper one by one - they turn into rubles. Having shown both their sides, the magician puts them in his chest pocket, “Are you interested in whether it is possible to increase the productivity of this unit? Don’t rack your brains - it is possible!” He simultaneously passes two pieces of paper side by side through the rollers, and they also turn into ruble bills. He puts them next to the first ones in his breast pocket. “Is it possible to receive other banknotes with this machine? Yes, it all depends on the size of the paper.” The presenter passes a larger piece of paper through the rollers, and it turns into a ten-ruble note. “Anything is possible, that’s why I’m a magician!” - says the artist, finishing the number. The assistant comes out and takes the apparatus and table from the proscenium, since the next trick requires space. This fills the short pause required between individual numbers. There was excitement in the hall, and those present liked the trick. The presenter takes a shiny metal bucket from the work table and, going down into the hall, shows it to the audience from his hands, knocks it over, and knocks on it with his hand. Viewers see an ordinary small bucket without any secrets. The performer returns to the stage. “Since you liked my tricks, I’ll show you another one: how to get money out of thin air.” Taking the "magic" salt shaker and sprinkling it on his left hand and the bucket, he hides the salt shaker in his jacket pocket. “You see how much money is hanging over my head, more than leaves on a big tree.” Although the audience does not see anything, the illusionist raises his free right hand and, jumping slightly, seems to tear off a leaf; the audience sees that he has a silver coin in his hand. The performer throws it into a bucket, the characteristic sound of a falling coin is heard, the artist shakes the bucket, and the audience hears the coin ringing there. Another jump - and the second coin flies into the bucket. Here a bucket is placed under a “falling” coin - and, having fallen into it, it hits the bottom. Sometimes shaking the bucket, the magician lets the audience know that there are more coins in it each time. So, catching coins with his hand (the audience sees their appearance in the magician’s hand every time) or simply placing a bucket under the falling invisible coins, the artist moves around the stage. Having scooped coins into the bucket, he pours them back. There are more and more coins, and the magician continues to catch them in the air, either taking them directly from the cloth enclosing the stage, or from his hair and dress. Passing the bucket from hand to hand, the performer continues to harvest the silver harvest. He sends some of the coins he catches in his hand into the bucket not through the top, but straight through the bottom - after all, the magician can do anything - and the audience likes it. When finishing the trick, the performer pours coins from the bucket onto the tray. “As you can see, when coins themselves fall into a bucket, catching them is not at all difficult. When you see silver rain, pick up a bucket and catch the falling coins into it!” - says the artist, ending the session. Focus Secrets: The chair on which the viewer-assistant is seated is installed so that in the absence of the artist the viewer cannot see either the sideboard at the work table or other secrets. If he begins to show excessive curiosity, the magician's assistant comes out from behind the scenes and occupies the inquisitive spectator until the illusionist returns to the stage. The first secret of the illusion of burning money lies in the special device of the scoop, in which a sealed envelope of money was placed (Fig. 89). In Fig. 89, A, a general view of the ladle is given, and in Fig. 89, B - its longitudinal section. From this section, the structure of the scoop is clear and it can be seen that inside the prismatic bucket there is an overlapping wall a. As soon as the wooden end of the handle is moved forward, rod b, passing through the metal tube of the handle, will move wall a to the position indicated in the dotted line in the figure. The overflow plate a rotates on an axis soldered to its lower edge (Fig. 89, B); just above the axis on one side there is a bracket into which rod b is hooked. The ladle is soldered from thin sheet metal and then painted inside and out with black nitro enamel; it is especially convenient to paint with paint sold in a special package with a spray device - an aerosol.
As it is now easy to guess, the illusionist took two identical envelopes, sealed an ordinary piece of paper in one of them, corresponding in size to a ruble bill, in the place of the seal he put a cross with a pencil and hid the envelope under the overlapping wall a. When an envelope with real money was placed in the bucket, then, going on stage, the artist moved the wall a to the other extreme position and closed the bag with the money with it. Therefore, the assistant spectator took from the ladle a bag of ordinary paper prepared by the magician. This is how the packages were changed. The magician gave the scoop to his assistant, and he went backstage with it. While the artist was talking to the audience, the assistant managed to take out a ruble from the envelope, which he had borrowed from the audience, and put it in the frame that you are already familiar with from the first session with cards. Thus, when he brought a candle onto the stage, holding the tray in his hand, visible to the audience, then in his second hand, hidden from the audience, he brought out the frame and quietly placed it on the magician's work table. Actually, that’s why he went to this table, since there was no need to leave the tray there. When the bag of “money” is burned, the magician hangs the frame he takes from his work table, facing the audience; at this time, the bill is hidden by sand located in the gap between the glasses. While pinning the target, the assistant turned the frame over with the hopper down, and the sand poured in there revealed the bill - this is how the “burnt” ruble appeared. You are already familiar with the “magic” pistol. The secret of the next trick lies in the special design of the rollers of our device, which is shown in Fig. 90, A. It also shows that paper is inserted into it from the back side of the rollers. In schematic diagram 90, B you see the secret of our rollers. They are made from a single black strip - a ribbon of thick paper material 3-4 m long and 25-30 cm wide. To prevent the edges of the ribbon from fraying, they must be carefully trimmed with black thread. The ends of the tape are tightly attached to wooden round rods (2,5-3 cm in diameter). The tape is wound onto these rods, as shown in our diagram B. In this form, the rollers are inserted into a wooden frame (Fig. 90, A).
If you now rotate the lower roller by the handle, the tape from the upper roller will be wound onto it, and vice versa. That's what our magician did. He first wound about a meter of tape from the top roller to the bottom one, and then, rotating the top roller, wound the tape back, but at the same time put money into it, which would then appear. The first ten-ruble note was pawned; when she had completely disappeared, the artist placed two ruble bills next to each other, and then, one at a time, three more ruble bills. After this, 1,5 turns of the tape were rewinded. The device, charged in this way, was taken out by the artist for demonstration. When making the first turn, the performer knew that the money could not appear. Then, after making a half turn, he inserted a blank sheet of paper into the machine from the back; As soon as this sheet began to wind together with the tape onto the lower roller, a real ruble appeared from the upper one. The public gets the impression that this blank piece of paper passes between the rollers and turns into money. Thus, throughout the entire show, the magician combines the moment of laying down a blank sheet of paper with the moment of the appearance of the banknote he had previously laid down. As soon as the bill comes out completely and the piece of paper disappears, the rotation of the handle is stopped. When loading money into the machine, they are placed exactly along the center line and strictly parallel to the edges of the tape, this makes it possible to place blank sheets exactly opposite the bills coming out of the machine. The trick is not difficult to perform, and after several rehearsals you will be able to do it. It needs to be shown lightly and cheerfully, like a joke. The wooden parts of our apparatus should be “silvered” with aluminum powder over warm enamel, then it will look very advantageous and will decorate your performance. Secrets of the last trick of this session. One of them lies in the artist’s ability to manipulate the coin - it must either “appear” in his hand or “disappear.” Since it is impossible to quickly learn this manipulation, we offer a simple device (Fig. 91), with its help you will do this easily.
In an antique silver coin, two holes are made with a thin drill. Their edges are slightly bent, and a thin transparent fishing line is threaded through them, which is tied with loops at both ends (Fig. 91, A). Place the coin on the middle and ring fingers of your right hand, and put the loops that we attached on the index finger and little finger (Fig. 91, B). Now bend the middle and ring fingers under the coin (Fig. 91, C) and straighten them - the coin will move to the back of the hand (Fig. 91, D). If, bending your middle and ring fingers again, you bring them under the coin and straighten it, then the coin will return to the front side; take it by pressing it with your thumb, as shown in fig. 91, D, and show it to the audience. They will see that you are holding a coin in your hand. Make a movement as if throwing a coin, and at this time transfer it to the back of your hand - the coin will “disappear”. This is what the magician did when he “caught” coins from the air and “threw” them into a bucket. By the way, the bucket was a very ordinary one, only the handle and ears were removed from it and it was silver-plated over enamel with aluminum powder. As for coins, you should have at least 30-50 of them, and if more, then that’s even better. However, it is difficult to imagine that you will be able to get such a number of identical antique silver coins, so magicians usually use simple circles carved from white metal, or cast them in a clay mold from babbitt or tertiary, which is what we recommend for you. Now let's talk about how the coins get into the bucket. A magician holding a bucket in his left hand, as shown in fig. 92, under the fingers that are inside the bucket, hides from ten to fifteen coins at once and drops them one at a time into the bucket at the moment when he “throws” the coins from his right hand. That's why the public hears the sound of a coin falling into a bucket. He does the same thing when he “catches” a coin directly from the air. So gradually the number of coins in the bucket increases.
How do the coins get into the artist’s left hand? On the left side, under the jacket, the illusionist has special sideboards-coin holders (Fig. 93), from which the performer takes coins at the right moment.
Coin holders are made of tin. They are half-cylinders with round ends, to which is attached a rotating bracket a, which holds the coins in the half-cylinder. Using a pin soldered to the coin holder (see picture), the coin holder sideboard is attached to the magician's costume. Standing with his right side facing the audience, the artist puts his left hand under his jacket and, moving the bracket up, pours coins into his hand. The number of coins that a magician can hold at one time depends entirely on the size of his hand, and this, in turn, determines the size of the coin box that he makes for himself. The number of coin holders you need is determined by the coins you have. Finished coin holders are painted with black nitro paint. When the magician, having familiarized those present with his bucket, returned to the stage, he held it in his right hand, and in his left he took coins from the sideboard. Having risen to the stage, the artist passed the bucket into his left hand, and with his right he took the salt shaker and, sprinkled with “powder,” hid it in his jacket pocket; There, in his pocket, he put the loops attached to the previously described coin on his fingers, and, transferring the coin to the back of his hand, began performing the trick. When the coins in his left hand ran out, the leader with his right hand, like a spatula (without bending his fingers), scooped up coins in the bucket and, showing the audience, poured them back; at the same time, he lowered his right hand until his hand was completely hidden in the bucket - this helped him leave 2-3 coins in this hand. After this, the illusionist took the bucket in his right hand and, turning to the audience with his right side, continued the trick, catching the coins directly into the bucket. At this time, he took another portion of coins from the next coin cabinet into his left hand, then passed the bucket to this hand and continued the trick, catching coins with his right hand and “throwing” them into the bucket. So he performed the trick until the entire supply of coins he had ran out. This trick is spectacularly very interesting, but it requires from the performer not only careful practice and skill, but also a certain ingenuity in choosing movements and methods of “catching” coins, as well as natural and convincing performance. Here is an example - an artist “catches” a coin falling from a great height, he follows its fall with his eyes and raises the bucket towards it, and at the moment it hits the bucket, he gently but quickly lowers the vessel to soften the impact of the coin on the bottom. This, on the one hand, is very natural and convincing, and on the other hand, it is necessary, since a coin falling from a hand holding a bucket produces too weak a sound. Author: Bedarev G.K.
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