Bruno Copin - Friend Vol 1
Category
🦄
CreativityTranscript
00:00 Dear Magic Friends, it's great to see you here today.
00:06 Before you discover the secrets revealed in this DVD, I'd just like to say that sometimes
00:12 my voice changes completely.
00:13 I don't understand.
00:14 Don't ask me why.
00:15 It just happens.
00:16 Despite this, in a few moments' time, you yourself will have the techniques to perform
00:24 these miracles.
00:25 These techniques must be practiced over and over again so that they have a strong magic
00:30 effect.
00:32 These routines must be mastered in order for your audience to obtain an optimum magical
00:38 effect.
00:40 My aim here is to give you the means to present real miracles and not mere puzzles or tricks.
00:46 What's more, this is the first time the secrets of my work have been revealed to the Magic
00:51 Fraternity.
00:52 Now, it's over to you.
00:57 OK, so here it is, the secret weapon which allows you to do so many magic effects.
01:05 I've taken here a short length of thread, remembering that the real length stretches
01:09 from the point you attach the thread behind your ear down to the extremity of your fingers
01:14 once you have straightened out your arm, along the side of your body, and your thigh.
01:20 Naturally, the thread will vary from person to person.
01:27 Now, the thread that has been supplied to you, in fact, is made up of 30 so-called invisible
01:35 threads.
01:36 OK, now, each of these invisible threads can be extracted very easily.
01:46 Now I'm going to show you how to extract these.
01:50 It's very important, so watch carefully.
01:52 And this is often the method which discourages magicians from using the invisible thread.
01:58 Now, it's obvious that when you tap like this at the end of the thread, which you have just
02:03 cut from the quantity supplied, you'll notice that all the little threads that make up the
02:11 thread separate slightly.
02:15 Now it's very easy to take one length of the invisible thread.
02:20 We can see it here quite clearly.
02:22 Watch carefully what I do with my left hand.
02:24 I slide it back a little bit, just to get a start, in such a way that I have exposed
02:30 or freed up about 5 cm of invisible thread.
02:35 Now, you have beside you here two small balls of gum, which I've prepared beforehand, and
02:44 you roll the invisible thread around the gum, which you have rolled into a sausage shape.
02:52 Then you continue to wrap it around like so.
02:57 Then you bring the two ends together like so, and then you fix it to the table, or if
03:08 you're set up, or if you're… it depends on your performing conditions.
03:12 Now all you have to do is take the other end, watch carefully, it's very important, you
03:17 extract a little length of the thread like so.
03:20 Now it's important that you don't start at the bottom and slide all the way back.
03:26 You do it progressively, a few cm at a time.
03:30 We gradually move in and we slide back very slightly.
03:36 You notice that the left hand pulls and the thread frees itself up little by little.
03:42 Now I'm doing it very slowly, just to show you how it must be done.
03:45 However, you'll see that when you do it yourself, it only takes a few seconds to extract the
03:50 invisible thread.
03:51 Now, of course, you can play around with the distance between your fingers and the piece
03:59 of gum on the table.
04:02 We let go of the end and we take hold of the other thread which is about to free itself
04:08 up.
04:09 There you go.
04:10 Here it is.
04:13 We now have the other end of the invisible thread.
04:16 You take the second ball of gum which you prepared previously.
04:20 You have to make sure that they are close to you, otherwise you'll have to balance
04:25 on one leg to get hold of them.
04:28 We wrap it around four times for security.
04:30 There you go, just as we did before.
04:33 OK, so here we have a piece of thread about 20 cm long.
04:38 Now, as I said, you'll be doing it with exactly the length that you require.
04:43 Once this is done, you can roll this length of thread around a piece of card just to store
04:49 it.
04:50 But we're going to need a little bit of sticky tape which I have here on my fingernail.
04:59 This is stuck to the magnet which is supplied in the DVD.
05:02 Now, what we do is we wrap the thread once, twice, three times around the sticky tape.
05:11 You then attach the tape to the magnet, like so.
05:21 You are now ready with the little magnet which will be itself attached to the underside of
05:28 the mask, thanks to the magnet which is incorporated in the mask, and the ball which you will attach
05:34 behind your ear as described in the DVD.
05:40 There you go.
05:41 I wish you all the best with this killer gimmick which will allow you to do some real magic,
05:49 some real miracles.
05:51 Why?
05:52 Because the magician has no apparent contact with the objects concerned, whether it's objects
05:59 that move or levitate.
06:01 The notion that the effects take place at a distance from the magician is very important.
06:09 You can distance yourself from the magic while at the same time making it happen outside
06:16 of you.
06:17 It's not dependent on your skills as a manipulator, so to speak.
06:22 The most essential quality of a thread user is to work on forgetting that he is actually
06:26 attached to a thread.
06:29 That's the most important thing you have to do.
06:31 Forget that you're attached to a thread.
06:34 Of course, you will have to work a little bit with a visible thread in order to stand
06:41 the mechanism and then the job will be, as I said, to forget that you are attached to
06:46 something.
06:47 So, there you go.
06:50 I wish you all the very, very best with what we can call, I'm sure you'll agree, a minimalist
06:57 gimmick.
06:58 All the best.
06:59 I'm going to show you now the gimmick which I have decided to call the ITS.
07:18 It took me many years to discover it.
07:20 The technical problem was very simple.
07:23 You'll understand that as we go through the explanations.
07:26 It was about having available to the magician a thread about so long which hooks up to the
07:32 ear and the second point of contact can be anywhere you like.
07:37 Let me repeat myself, my friends, because I thought about this for a long time and as
07:42 you know, simple ideas don't always come very easily.
07:47 My reflecting led me to think of a very simple object, simple in its conception and simple
07:53 in its use.
07:55 You won't be able to see it very well because it's in my pocket but I will explain to you
08:00 shortly exactly how to prepare it.
08:04 Very quickly, the gimmick is in the pocket which means that if you don't already have
08:08 the thread set up or, for example, if you break it, you will use the gimmick to put
08:12 another thread in place.
08:14 Now, this is a very important notion.
08:17 If I had known this gimmick 20 years ago, it would have helped me in a very considerable
08:22 way.
08:23 I'm thinking now of a few competitions where if I'd had it, I would have stood a greater
08:27 chance of winning.
08:29 Okay, so here's how it works.
08:31 Here it's in my pocket but you can put it absolutely anywhere you want, here, here or
08:38 even inside another object.
08:41 The idea is, you reach for the thread and you can see it now coming out of my pocket
08:47 like so.
08:50 It takes two or three seconds to complete this action.
08:52 You glue the ball of gum behind the ear.
08:55 Note that it is much easier if you have previously placed another ball of gum behind the ear.
09:02 It stays in place, you can be sure it won't come away.
09:05 So, you put a little ball beforehand and you stick a second ball on top of it.
09:10 It's sure it won't come away.
09:13 It's an irrelation, if you like.
09:19 So here you have a little manipulation to do.
09:21 Your two hands come together like so, as if you were going to say a prayer.
09:24 Now watch carefully, the left thumb takes the thread like so, rising up to the left
09:29 which causes the other end to come out of the tube.
09:34 And the other end is equipped with a little round magnet.
09:38 I'd like to add here that the right hand remains against the pocket to hide the exiting of
09:43 the magnet.
09:45 Here my hand is open for illustrative purposes.
09:49 This magnet will allow us to set up the complete system of the ITS with its mats which are
09:54 both inseparable.
09:56 The thread comes out of the pocket, the magnet is at the end.
10:00 We can easily place this magnet underneath the mat.
10:03 It is fixed in place and we can take it off whenever we want.
10:08 So we are set up now to do 95% of the effects.
10:12 The remaining 5% you will see, there is a particular set up.
10:17 Once you have unhooked your thread, you can get the magnet very quickly and with the mat
10:22 and the gimmick, you will be supplied with a little metal bar which you can attach inside
10:28 your trousers which allows you, if you want, to place it here on the right thigh, noting
10:34 that the magnet will be black or whatever color your trousers are.
10:42 So there you can carry it about calmly.
10:45 The mat is also easy to carry about.
10:48 You can simply place it in your back pocket and you have a complete system, totally secure,
10:55 to have a thread ready to use.
11:00 So I think for the gimmick it is clear.
11:04 Now we are going to enter into the details of the preparation of the gimmick.
11:09 What I am showing you here is exactly what you find in the pocket but on a much larger
11:13 scale.
11:15 This is transparent to illustrate clearly how you prepare the gimmick.
11:19 So we place the magnet inside the tube.
11:23 This magnet is attracted by a second magnet which is in the base of this part.
11:27 You hold the thread in place by your thumb.
11:31 You then proceed to wind the thread around like so.
11:36 You then place this part inside the larger part and it is created specifically to make
11:46 things easy.
11:47 You place it inside like so, keeping hold of the end containing the ball of wax and
11:54 you press it against the inner wall of the larger part like so.
12:00 So imagine that this object on a smaller scale of course is inside my pocket.
12:06 Now watch very carefully what happens.
12:07 I am just going to move in a little bit so you can understand clearly.
12:14 The thread comes out of the pocket and you can watch carefully how it unravels as I pull.
12:21 The two hands move in as I showed you earlier.
12:26 You continue with the gestures and the magnet finds itself in the right hand.
12:34 Now you have your thread of about 1 meter ready for use.
12:36 You can attach it to the mat.
12:38 Once you are finished, you can take it away.
12:40 You attach it to your right thigh.
12:42 If you prefer, you can keep it attached to the mat.
12:47 If you want, you can just simply place it in your back pocket and you are ready for
12:51 the next table.
12:53 Now I know that you are going to have fun with this and I know you are eager to try
12:57 it out.
12:58 So without further ado, we are going to continue with the explanations of the tricks themselves
13:02 so that you can do all the effects you have just seen.
13:06 Good evening ladies.
13:08 How are you doing?
13:11 Okay.
13:12 Just a question.
13:13 Have you ever heard about the butterfly effect?
13:14 No?
13:15 Well, let me explain it to you.
13:19 It's not very complicated.
13:21 We are not going to go into the scientific side of things.
13:23 But imagine that a butterfly flapping its wings in Africa.
13:30 Some people believe that this can create a storm thousands of miles away even two weeks
13:40 later.
13:41 Surprising, isn't it?
13:42 It's a little bit, if you like, if you look at it from a philosophical point of view,
13:47 that you do something small in your life, it has huge consequences later.
13:52 This is the idea.
13:53 I am going to ask you to take the deck.
13:55 What's your name?
13:56 Melanie.
13:57 Beautiful.
13:58 Right.
13:59 Go ahead.
14:00 Take the deck.
14:01 Great.
14:02 I am not going to take the deck back, Melanie.
14:03 I am just going to simply ask you to hold out your right hand.
14:07 That's right.
14:08 And put the deck right there, just at the end of your fingers.
14:11 Great.
14:12 Now we are going to imagine, Melanie, for example, that you are in Asia.
14:15 And I am imagining you right there as I speak.
14:19 I am going to ask you to give me half of the deck.
14:26 You have wonderful hands for this effect.
14:29 I am in Africa, and this card here, Melanie, the one you have cut to, is the three of clubs.
14:37 Let's say that this card represents the storm.
14:41 On the other hand, the queen of hearts is the butterfly of love.
14:46 And look.
14:49 When the butterfly flaps its wings in Africa, a tornado is created in the air, crosses the
14:54 planet, and a few moments later, starts a storm thousands of miles away.
14:59 You see, Melanie, it's like when a lady bats her eyelids, the man's head starts spinning,
15:05 and a whirlwind is created in his heart.
15:14 Before I go into any detailed explanation of the butterfly effect, which will be followed
15:18 by ripples and the surf, I would just like to emphasize the importance of creating a
15:23 scenario and an atmosphere around these effects.
15:29 This idea is something that we can apply to all magic effects.
15:34 You remember the story behind the butterfly effect.
15:37 The story itself gives body a meaning to what is otherwise simply two cards flipping over
15:42 and turning around.
15:46 The story allows the effect to last two or three minutes instead of simply a few seconds.
15:54 The idea is to draw out the effect a little bit.
16:00 So I'm going to ask an arm to come to the table.
16:06 OK, here we go.
16:08 Hello, Mr. Arm.
16:10 You recall that the spectator mixes the deck very quickly.
16:14 Then you ask him to put the cards on the tips of his fingers.
16:21 The hand will need to be lined up with the thread.
16:24 This you can see here.
16:25 There you go.
16:26 It goes up to the ear like so.
16:30 Now the cards are posed on the end of his fingers.
16:35 Then you ask him to take half of the deck and put it on your hand.
16:41 Now what you must do is you move your hand in like so because he has a tendency to move
16:46 and to follow you.
16:49 OK, so what you must do is you must ask him not to move at this stage.
16:54 Now, once this situation has been created, you use the relevant pattern and all you have
17:00 to do is take the card, move slightly back like so, and place it back into the spectator's
17:11 hand like that.
17:13 Now everything is ready.
17:15 The butterfly effect is ready to go.
17:18 The next part may require a little bit of practice in order to get it right.
17:23 With the left hand, you give a little flick of the wrist like so.
17:25 Let me just do it again.
17:27 As I said, it may require a bit of practice to master.
17:30 You give a little flick like so and the hand opens entirely and the card should spin round.
17:38 Now, as I said, I repeat, you have to practice this.
17:41 Once you have done this, you pretend that there is a little wind moving across towards
17:45 the spectator.
17:46 And what's very important is that you follow the wind with your eyes.
17:50 You pull slightly and then what happens, as you can see, is the card begins to very slowly
17:56 turn over and, watch carefully, when you pull away, the card spins around in the spectator's
18:01 hand.
18:02 What's interesting here is that at the end of the effect, you are totally clean.
18:07 There is nothing strange or bizarre for the spectator to discover.
18:11 I prefer if you didn't smoke, well, because firstly, it damages your health and secondly,
18:19 because I find you such nice people that I would like to teach you a trick that will
18:22 amaze your friends.
18:23 Well, what do you say?
18:26 So imagine you've lit some candles, you've created the atmosphere, you've borrowed a
18:32 cigarette and what you do is you concentrate and suddenly this happens.
18:40 In any case, I said I'd explain it to you, but just let me do it again.
18:50 In fact, what happens is I inhale with the right nostril and exhale with the left.
18:56 And this is basically what happens.
19:02 So remember, if one day you meet someone strange looking like myself, who has their nose covered,
19:07 their mouth covered and still manages to make the cigarette roll, it is at that moment that
19:12 you would have met a real magician.
19:19 This effect consists of giving a funny explanation of a trick to a spectator.
19:24 Now, in general, as you are probably aware, spectators adore the possibility of finding
19:30 out how a trick works.
19:33 So if ever you have the possibility of giving to a spectator a comic or a false explanation
19:38 of a trick, this type of explanation works quite well.
19:44 What I need is a spectator with a cigarette.
19:47 I'm just going to ask Frank to come over and join me.
19:50 Frank, are you okay?
19:53 Did you trip on something?
19:55 Okay, right.
19:58 Are you sure you're okay, Frank?
20:03 Did somebody push you or what?
20:07 Now, the cigarette, a little bit of blood there.
20:13 Okay.
20:14 If it disappears, don't worry.
20:18 Okay, so the cigarette which rolls is incredibly simple.
20:23 Now, sometimes the efficacy of a trick we find in the simplicity of the trick itself.
20:30 Now, all you have to do is simply pose the cigarette onto the thread like so, and you
20:35 pause for a minute.
20:37 This is very, very important.
20:40 Then what you do is you create the atmosphere, the candles, etc.
20:47 And then, it's too easy.
20:49 You simply give it a pull, and the cigarette begins to roll.
20:58 He will, by reflex, pick this up at the same time, noticing that there is nothing in fact
21:04 connected to the cigarette.
21:05 Now, I have a little story to tell about Finn John, who I'm sure you know.
21:10 He's one of the most famous creators of effects using thread.
21:14 I remember the time I showed him this trick.
21:18 He reacted in a very special way.
21:20 He placed the cigarette like so onto the table and began to walk away.
21:25 And when he was a few meters away, he repeated exactly the same effect which I had just shown
21:31 him.
21:32 Now, I have to admit that I was quite gobsmacked, as the distance at which he was was quite
21:38 far and impossible to achieve this effect.
21:41 A few hours later, he explained this to me in the bar.
21:44 We were at a magic convention.
21:46 We were at a magic conference, by the way.
21:49 What he told me is worth remembering from a magic philosophy point of view.
21:53 You must use all the conditions that nature provides you with at a given moment.
21:58 As it happens, he had noticed that the table at which I was working was at a very slight
22:03 slant.
22:04 All he did was, he placed the cigarette on the table, began to walk away, which was the
22:10 misdirection of course.
22:12 I looked at him, and then he made a magical gesture towards the cigarette.
22:16 What I didn't know was, the cigarette was already rolling.
22:20 A cigarette without a thread, not bad at all.
22:26 We're going to try something quite impossible right now.
22:31 Please have a look at the cards.
22:33 Just for the magicians that are looking in.
22:37 The cards are normal, they're not marked in any way.
22:39 We're not going to spend three hours looking at them.
22:41 Just go ahead and give them a good shuffle.
22:45 Trust me.
22:46 Once you have shuffled them, you can place them right here on the table.
22:52 In a moment, sorry, what's your name?
22:53 Stephan.
22:54 Stephan, in a moment.
22:57 I'm going to ask you to cut the deck wherever you want, without letting me see.
23:03 You can have a look at the cards, show it to your friends.
23:06 You can even show these gentlemen over here to my right.
23:10 Go ahead.
23:11 Put the cards wherever you want.
23:13 Have a look, show it to your friends.
23:15 I won't cheat.
23:16 I'm just going to cover my eyes.
23:19 Once you have placed it back, let me know.
23:21 Okay, fine.
23:23 So you have chosen a card, a deck of 52 cards.
23:27 You have cut anywhere you wanted to.
23:31 And now it's quite impossible for me to find a card.
23:35 But that's exactly what we're going to do using this magic picture.
23:39 Have you ever seen one before?
23:41 No?
23:42 Okay.
23:43 So have a look, step inside and make sure there's nothing peculiar, that there's nobody
23:47 hiding inside that could cause any problems.
23:50 What does it look like to you?
23:51 A classic picture.
23:52 Okay, good.
23:53 Stephan, have a look.
23:54 It would be a shame if we found somebody inside that would complicate matters for us.
24:00 Okay?
24:01 Right.
24:02 We're going to just give the cards a little mix like so.
24:06 There we go.
24:08 Now I'm just going to take the cards, give them a shuffle and place them inside the picture
24:14 like so.
24:16 Now the gentleman who gave me this told me that if I shake the picture like so, a card
24:22 jumps out of the deck.
24:25 Stephan, do you remember the card you chose?
24:29 Those five of clubs?
24:32 There we go.
24:33 That's quite strange when you think about it.
24:36 Now I know what you're thinking.
24:38 When I first saw this done by the gentleman who gave me the picture, I thought that he
24:42 must have a special flick of the wrist.
24:45 But this is a real magic picture.
24:46 Look, the card goes right into the center of the deck.
24:49 Just push it like so.
24:51 Stephan, take the picture and I'm going to ask you to give it a little shake.
24:55 And there you go, Stephan.
24:59 You too must be a real magician.
25:07 The magic picture is a little comedy effect where the spectator becomes the magician in
25:12 a very strange way.
25:17 What we're going to see is two effects.
25:20 One which doesn't use a thread and the other which does.
25:26 But before we go any further, we're going to need the picture itself.
25:35 Thank you very much.
25:37 Now remember the card is chosen from the deck, replaced and revealed in the following
25:43 way.
25:44 I call this the smallest break in the world.
25:48 You'll see why.
25:50 The deck is mixed by the spectator.
25:54 In this case it's me who's doing it.
25:58 Once it's mixed, it's placed on the table.
26:03 At that moment, the thread is placed by your index finger slightly to the left.
26:10 You ask the spectator to look at the card where he cut.
26:16 Then your right finger places or rather guides the thread across the back of the cards where
26:22 the spectator cut.
26:26 And then you ask the spectator to place the cards back.
26:34 It is at this moment that the thread gives us what we can call the smallest break in
26:38 the world.
26:39 As soon as you move your body back, you will naturally have the break which will allow
26:48 you to identify the location of the chosen card.
26:52 There you go.
26:54 That explains the smallest break in the world.
26:56 Once you have identified this card, let's imagine it's the ace of diamonds, you control
27:01 the card to the top of the deck and that's when you place the deck into the pitcher.
27:09 There we go.
27:12 Just like so.
27:17 The card is on the top of the deck.
27:20 The movement that you use at this stage is an old technique which is perfectly adapted
27:26 to this trick.
27:27 It is certainly not one of my ideas.
27:30 It's an old idea.
27:33 It's important to notice at this stage that the pitcher itself is just slightly wider
27:37 than the deck.
27:39 And when we shake it like so, what happens inside as you can see, is the movement causes
27:45 the card at the top of the deck to jump out of the pitcher.
27:50 It's the centrifugal force which causes the card to jump out.
27:53 The card of course, as I said, having been controlled to the top of the deck.
27:58 Just an idea, you could also place the four aces on the top of the deck for example and
28:03 by shaking it in the same way, you can produce those four cards, the four aces, making a
28:07 nice introduction to a four ace routine.
28:11 Now if you remember the trick at this particular stage, I place the card, the ace of diamonds
28:15 in this case, back into the deck.
28:17 If you don't remember this, I suggest you go back and have a look.
28:21 You position the thread like so and you take the short end of the card and you place it
28:26 against the thread.
28:27 At this stage, you'll be able to feel the tension behind your ear.
28:32 You advance your body in order to give the thread a bit of slack and you continue to
28:36 move inward as you slide the card into the deck.
28:39 Watch carefully as I do it because if at any particular stage the thread becomes too tense,
28:45 you risk breaking it.
28:50 At this stage, you give the pitcher to your spectator and you ask him to give it a gentle
28:56 shake.
28:57 At the same time, you pull ever so slightly, so it didn't happen this time, but normally
29:05 it will remain on the top of the pitcher like so.
29:08 Now you'll notice this when you try it out for yourself.
29:11 Here we shook it a little bit too much.
29:14 I'm just going to do it again.
29:18 There we go, into the center of the deck.
29:23 Now it's actually much harder doing it with a piece of thread like I have here than it
29:27 is to do with the invisible thread.
29:29 There we go.
29:30 Have a look at the mechanism of the trick.
29:32 The card pops out, okay, you can stop moving and the card is placed on the top of the pitcher.
29:38 The thread comes free as you can see.
29:42 Once again, the spectator finds himself in a clean position where there is no trace of
29:47 the thread.
29:48 There is something else that I wanted to show you again, something strange.
29:53 Okay, look, I've put the card right back into the pitcher like so.
29:57 There we go, five clubs, in it goes.
30:00 Right here in my pocket I've got a black scarf.
30:02 You know, every magician at some stage needs a black scarf like this.
30:06 And what I'm going to do is, I'm going to just cover it like so, and in a few moments
30:11 we're going to see something, as I said, very strange.
30:14 Please, could you just place your hands right around the scarf like so?
30:17 We're going to count to three.
30:19 One, two, three.
30:20 Take it up, lift, and look what happens.
30:23 The five of clubs has jumped right out of the deck like so.
30:28 I call that the great escape.
30:30 How did you do that?
30:31 Well done.
30:32 I'm going to have to do that again.
30:34 Well, listen, it's been a pleasure performing for you all.
30:37 I hope it was fun for you all.
30:41 I hope to see you again at some stage in the very near future.
30:45 Bye-bye.
30:46 Merci.
30:47 Au revoir.
30:48 Merci.
30:49 Let me show you now a variation of the magic picture.
31:05 This is probably the more intelligent way of using the invisible thread.
31:11 In the first effect that I showed you, where the card jumps out of the deck, it is the
31:15 spectator seeing what the thread is doing.
31:20 Of course, he doesn't see the thread itself, but what he sees is the immediate result of
31:25 the thread's work.
31:27 In this particular version, the immediate result of the thread work is not seen by the
31:30 spectator.
31:32 So for this version, imagine that your spectator has chosen, let's say, the same card.
31:41 Notice once again the mobility of the mat to which the thread is attached.
31:49 The deck is placed into the picture.
31:53 Situation is the same.
31:57 The card is placed inside also.
32:01 This time we're going to use a scarf.
32:07 The scarf is going to hide the stealing of the card.
32:10 What I mean is, when I lift up the scarf like so, the small finger and its neighbor are
32:20 both going to take the card as it rises.
32:23 I'm just going to lower the scarf so that you can see that clearly.
32:28 I'm sure you'll agree that the multi-angle nature of the DVD will help you with this
32:32 particular move.
32:34 The thread frees itself and the card is placed under the picture while the scarf is being
32:39 placed over the picture.
32:42 Okay, so that's the explanation of the great escape during which the thread facilitates
32:47 the stealing of the card unbeknownst to the spectator.
32:51 Well, listen, it's been a pleasure performing for you all.
32:56 I hope it was fun for you all.
32:59 I hope to see you again at some stage in the very near future.
33:02 Bye-bye.
33:03 Magic dealers sell all types of gimmick decks which allow you to do this effect, but this
33:20 particular version is clean and idyllic.
33:25 If you are sufficiently brave, you can organize it so that the spectator himself holds the
33:31 glass and places the card in himself.
33:35 Now, it's true that this may seem a little bit risky, but I have presented it in this
33:40 way and the effect is quite impressive.
33:43 All you need is a deck and a glass and from then on, you touch nothing.
33:47 There you go, it's what we would call an idyllic effect.
33:51 I'm sure that Daniel Rode, who was with us during the discussion, would not disagree
33:55 with me on this point.
34:00 So the card is back into the deck and all you have to do is pull like so.
34:06 Pull, voilà , there you go.
34:11 You can see perfectly the mechanism here.
34:14 Then the card positions itself on the top, the thread falls away and again, you're clean.
34:22 So now we can let our friend here go back to his bed and all that I have to say now
34:27 is, cheers.
34:29 I'm going to show you something very strange.
34:33 I'm just going to mix the deck like this and what I'd like you to do is to take out a card
34:37 from the deck.
34:38 Have a look at it, making sure that of course I don't see it and when you're ready, you
34:43 can place it back anywhere you want in the deck.
34:47 Once you've done that, you can give it a good shuffle.
34:51 That's perfect.
34:54 Right, so I'm sure you'd agree that at this stage it's impossible for me to find the card
35:00 but what you can do is, you can help me find it.
35:04 So what I'm going to do is borrow your watch, so if you wouldn't mind just taking it off.
35:10 Wow, that's a beautiful piece of work.
35:15 So what we're going to do is, we're going to take the cigarette and place it at the
35:19 end of the strap.
35:22 And then what we have is a lie detector, which we're just going to place on the table
35:29 like so.
35:32 There we go.
35:33 So we need a little bit of imagination for this.
35:40 So you remember your card.
35:42 What we're going to do is, we're going to try and find it.
35:46 So to speed things up, I'm just going to ask you, is your card among these here?
35:50 No.
35:51 Is your card among these?
35:52 It is.
35:53 OK, fine, fine, fine, fine.
35:56 So we have how many cards here?
35:59 10 or so, just get a little mix.
36:02 I'm going to show you the cards one at a time like so.
36:06 At the same time, I'm going to ask you to keep your finger on the end of the strap.
36:12 Go ahead.
36:14 Right.
36:15 Now that it's charged, you can take away your finger.
36:20 Now, remember, I'm going to show you the cards one by one.
36:26 And systematically, you're going to say no.
36:30 So basically, at a given moment, you will be lying.
36:34 OK.
36:35 Put your finger here.
36:40 Was this the card you chose?
36:42 No.
36:45 Was it this one?
36:46 No.
36:47 No, OK.
36:49 Was it this one here?
36:51 No.
36:52 Don't have any left.
36:53 Was it this one?
36:54 No.
36:55 Ah, there we go.
36:56 OK, I'm done.
36:57 Take your finger away.
36:58 That's strange.
36:59 So look again.
37:00 Was it that?
37:01 No.
37:02 Ah, there you go.
37:03 You're lying.
37:04 All right.
37:05 OK, take your finger away.
37:06 So it was the five of clubs.
37:08 OK, we have discovered a real lie detector.
37:10 Thank you very much for your help.
37:12 And you can have your watch back.
37:14 OK, here we have a trick which involves a rather particular setup.
37:16 Can I just ask you to take off your watch, please, sir?
37:18 OK, I'm going to take off my watch.
37:19 I'm going to take off my watch.
37:20 I'm going to take off my watch.
37:21 I'm going to take off my watch.
37:22 I'm going to take off my watch.
37:23 I'm going to take off my watch.
37:24 I'm going to take off my watch.
37:25 I'm going to take off my watch.
37:26 I'm going to take off my watch.
37:27 I'm going to take off my watch.
37:28 I'm going to take off my watch.
37:29 I'm going to take off my watch.
37:30 I'm going to take off my watch.
37:31 I'm going to take off my watch.
37:32 I'm going to take off my watch.
37:33 I'm going to take off my watch.
37:34 I'm going to take off my watch.
37:35 I'm going to take off my watch.
37:36 I'm going to take off my watch.
37:37 I'm going to take off my watch.
37:38 I'm going to take off my watch.
37:39 I'm going to take off my watch.
37:40 I'm going to take off my watch.
37:41 I'm going to take off my watch.
37:42 I'm going to take off my watch.
37:43 I'm going to take off my watch.
37:44 I'm going to take off my watch.
37:45 I'm going to take off my watch.
37:46 I'm going to take off my watch.
37:47 I'm going to take off my watch.
37:48 I'm going to take off my watch.
37:49 I'm going to take off my watch.
37:50 I'm going to take off my watch.
37:52 I'm going to take off my watch.
37:53 I'm going to take off my watch.
37:54 I'm going to take off my watch.
37:55 I'm going to take off my watch.
37:56 I'm going to take off my watch.
37:57 I'm going to take off my watch.
37:58 I'm going to take off my watch.
37:59 I'm going to take off my watch.
38:00 I'm going to take off my watch.
38:01 I'm going to take off my watch.
38:02 I'm going to take off my watch.
38:03 I'm going to take off my watch.
38:04 I'm going to take off my watch.
38:05 I'm going to take off my watch.
38:06 I'm going to take off my watch.
38:07 I'm going to take off my watch.
38:08 I'm going to take off my watch.
38:09 I'm going to take off my watch.
38:10 I'm going to take off my watch.
38:11 I'm going to take off my watch.
38:13 I'm going to take off my watch.
38:14 I'm going to take off my watch.
38:15 I'm going to take off my watch.
38:16 I'm going to take off my watch.
38:17 I'm going to take off my watch.
38:18 I'm going to take off my watch.
38:19 I'm going to take off my watch.
38:20 I'm going to take off my watch.
38:21 I'm going to take off my watch.
38:22 I'm going to take off my watch.
38:23 I'm going to take off my watch.
38:24 I'm going to take off my watch.
38:25 I'm going to take off my watch.
38:26 I'm going to take off my watch.
38:27 I'm going to take off my watch.
38:28 I'm going to take off my watch.
38:29 I'm going to take off my watch.
38:30 I'm going to take off my watch.
38:31 I'm going to take off my watch.
38:32 I'm going to take off my watch.
38:33 I used to find that when an object rises in this manner, it may seem obvious that it
38:38 is being pulled from above.
38:41 One year when I was at a magic conference in the Antibes, it was the Colum d'Or, I was
38:46 with a well-known magician called Gérard Cugnon, who in fact is the assistant of Gérard
38:54 Majax, the famous French magician.
38:57 It was Gérard Cugnon who helped me to develop this idea.
39:00 I would just like to put that on the record.
39:04 Okay, I see you still have a little bit of blood there on your head.
39:11 Thank you very much for your help.
39:12 Bye-bye.
39:13 Hello, there, gentlemen.
39:14 If I'm not mistaken, I think we met before in a previous effect.
39:23 I'm glad you came along because as it happens, I need three people to help me with this.
39:28 In magician's jargon, we call this a routine.
39:35 We're going to act out a play in which each of you will have a role.
39:38 You there, sir, can I just ask you your name?
39:44 Inspector Lolita.
39:45 Well, Inspector, let me introduce you to your two crooks.
39:49 You can tell that they are crooks by their faces.
39:52 So both of you are going to play the role of the crooks.
39:55 And for that, I'm going to ask each of you to choose a playing card.
39:59 But as you probably know, Inspector Lolita sometimes has problems sorting out his affairs.
40:05 Isn't that right?
40:06 So what we're going to do is we're going to give him some help.
40:09 For example, we're going to give him the first joker and the second joker, which is right
40:17 here.
40:18 There you go.
40:19 Sorry, what are your names?
40:21 Junkie and Poot-Poot.
40:23 Junkie and Poot-Poot.
40:24 We have spectators with some very strange names here today.
40:28 Go ahead, Junkie.
40:29 I'll try to remember your name.
40:31 Go ahead and mix the cards as you like.
40:33 While you're doing that, I just want to point out to the spectators, because we have people
40:38 looking in at us, that the two inspectors that will help Lolita, we will put them for
40:44 the moment into my pocket.
40:46 There we go.
40:48 So the idea is you've mixed the deck.
40:51 Lolita, you're going to pick a card from the deck which you represent you and place
40:56 it on the table in front of you.
41:02 And I'm going to ask you both to do exactly the same thing.
41:05 You seem very friendly for crooks.
41:09 Junkie, he has a very strange name, but we're not going to worry about that.
41:13 So everybody has chosen a card.
41:15 You can turn them over.
41:17 It doesn't really matter for the routine.
41:19 Inspector, I would like you to sign your name across the card that you chose.
41:24 Here you go, take the pen.
41:29 So you just write on the card, Lolita.
41:31 I'm going to ask you both to do the same thing.
41:34 Go ahead and write your names across your chosen cards.
41:37 Thank you very much.
41:40 Pout-pout and Junkie, I'm just going to put this here.
41:45 So there we go.
41:47 So you remember that I have Lolita's two assistants in my pocket, which we are undoubtedly
41:52 going to need.
41:55 The first crook, the Ten of Spades, runs off down the street with his partner in crime
42:02 close behind.
42:03 There are so many people, we have no way of finding him as he disappears into the crowd.
42:09 He leaves no trace that will allow us to find him.
42:17 Here we go.
42:20 After having found his hiding place, he calls his friend Pout-pout.
42:25 Have a good look at his face.
42:27 Six of diamonds.
42:29 He too also disappears into the crowd.
42:35 This is where Inspector Lolita comes in, the Jack of Spades.
42:38 With his two assistants, of course, who you will remember are in my pockets, they are
42:44 going to inspect the streets.
42:47 And of course, he spots them in the crowd.
42:49 Yes, he has found you both.
42:52 But instead of intervening alone, he says to himself it would be better if he called
42:57 his two friends, the Jokers, because these two crooks happen to be very dangerous individuals.
43:04 As I said, in my pockets, the inspector has his two assistants, the Jokers.
43:14 Watch carefully and you will see why he chose them as his assistants.
43:20 It wasn't by chance.
43:22 The first Joker enters the street, the second does likewise.
43:26 And we clap our hands and in the blink of an eye, he finds them both.
43:32 There you go, Inspector.
43:36 You can take them away.
43:42 We're going to have a look now at the routine which we call "Jokers in the Pocket".
43:50 As it is a fairly detailed routine, we're going to divide it up into three different
43:53 parts.
43:56 The first part is fairly easy to understand.
43:58 It consists of the control of a card with a thread.
44:03 Imagine that the spectator has chosen the Ace of Spades.
44:07 Have a look very closely at the starting position.
44:11 The thread is attached to the mat and runs between the index finger and the thumb, like
44:16 so, and runs up to the ear.
44:20 Once in this position, you are totally free to mix and shuffle any way you want.
44:30 You can do this without any risk of breaking the thread.
44:34 I suggest you practice this action at length because it will allow you to evaluate the
44:39 tension of the thread.
44:41 Once the deck has been shuffled, you place it on the thread which runs the length of
44:47 the mat.
44:48 The left hand moves back in such a way that it frees itself from the thread.
44:54 The deck is now imprisoned, so to speak, in the thread.
44:58 You can see this very, very clearly on your screens.
45:02 We place the chosen cards, the Ace of Hearts in this case, like so.
45:08 This allows us to square up the deck in a totally free manner without maintaining a
45:12 break.
45:15 To show that there is no cheating, we turn the deck around, proving that there is no
45:19 way that the magician can identify the position of the card.
45:24 Here, the length of thread that I am using to demonstrate to you pulls out the card,
45:31 but the invisible thread on the other hand will slide easily.
45:36 We are set up like so, we have turned the deck around, we can now do a series of cuts.
45:41 Let me just remind you that I put in a lot of time trying to find a way to shuffle a
45:45 deck of cards which has a thread running through it.
45:48 And let me show you what I found.
45:51 Each time we cut the cards, the chosen card remains imprisoned in the thread, just like
45:57 so.
46:01 Now as to how to find the card in the deck, the thread will serve as an essential tool.
46:08 Watch what I do.
46:10 I move slightly backwards and I end up on the break where the chosen card is situated.
46:17 This allows me to place the card aside and to carry out the shuffle.
46:24 Now it is quite clear.
46:26 The card imprisoned in the thread finds itself in the last position, just here, as you can
46:30 see.
46:32 This means that the rest of the deck is totally free.
46:35 This allows us, this is quite interesting, to ask the spectator himself to cut the deck
46:39 once, twice.
46:42 Of course he will never cut to the chosen card.
46:45 This card by now appears to be completely lost in the deck.
46:50 It is at this point of the routine that we are going to glimpse the card.
46:57 Watch very carefully what happens.
47:01 By simply tilting the deck forward, which I am just going to do now, the card slides
47:10 out slightly and the two index fingers push it immediately back in.
47:21 Once this has been done, the card has been identified.
47:24 There you go, the first part, the control of a card with a thread.
47:31 There is an important part which I would like to show you.
47:35 To free the card from the loop of thread, watch closely at the move you need to do.
47:44 There you go.
47:45 The card moves with the left hand and the thread moves out of the deck.
47:55 We have just seen how to control a card with a thread.
47:59 Let me remind you very quickly that the card is introduced from the side here.
48:05 There is, however, another way of controlling a card and it goes like this.
48:11 This particular method we can combine better with the control of three cards.
48:16 Instead of imprisoning the deck with a thread, the chosen card is simply placed here.
48:22 The left hand moves back slightly, takes the cards in the air before the spectator.
48:27 We ask the spectator to say stop wherever they like and we place it like so.
48:35 We find ourselves back in the same position as before, except that we are not obliged
48:40 to turn the deck around.
48:45 We are going to continue at a point where we have just controlled the card.
48:52 Imagine that the cards have been chosen just like we saw in the routine.
48:56 We are at this point with the first card imprisoned in the thread.
49:00 We are now going to introduce the second card.
49:05 We create the break as we saw before by pulling slightly backwards, we locate the card.
49:11 Then by introducing the second chosen card at this point, we imprison the two cards together.
49:19 This allows us to carry out exactly the same movements as before when we had one card.
49:24 Position now is quite clear.
49:25 Two cards are in a loop.
49:27 All we have to do now is introduce the third card.
49:32 This can be done with four cards.
49:33 But three cards is perfect.
49:35 Otherwise the movements become too repetitive.
49:38 The break is created a third time and the third card joins the other two in the invisible
49:45 loop.
49:48 This allows us to shuffle the deck again, just like before, to cut it, to create the
49:52 break and to shuffle like so.
49:57 This is important to show that there are no crimped cards or any other forms of marking.
50:03 We are now in this position.
50:06 So we are going to stop there for the moment, practice the movements, make sure you enjoy
50:12 using it.
50:14 We can now move on to the next part.
50:23 Now that you have mastered the control of one card, or for that matter, three cards,
50:27 we can move on to the next part of the routine.
50:31 Try to remember it, if you've forgotten of course, have a quick look back at it.
50:37 In the routine, three characters are identified at the beginning.
50:40 A policeman and two robbers.
50:44 The policeman has two assistants, the two jokers.
50:49 These two jokers are clearly presented to the spectators at the beginning of the routine.
50:53 The roles are also clearly defined.
50:57 We then see the magician putting the cards clearly into his pockets.
51:02 The trick here is that I have a hole right here in my left pocket.
51:07 I can pass through the hole by simply placing my hand in my pocket and by grabbing hold
51:13 of the objects that I happen to have on my knees.
51:16 You can of course have your pocket here with the hole while at the same time having a second
51:21 smaller pocket to receive the card.
51:25 This will allow you to place the joker inside a little pocket instead of it falling on the
51:30 floor.
51:31 On the other hand, in the other pocket, there is no hole.
51:34 The two jokers are placed into the pockets.
51:37 The spectators remember this very clearly.
51:39 At the same time, it does no harm to remind them.
51:43 You'll remember that we have one, two, three cards imprisoned all together side by side
51:48 and they are to be found in the middle of the deck.
51:52 This is the position in which you will find yourself once you have mastered the three-card
51:56 control.
51:59 We saw earlier that when we tilt the deck forward like so, the thread not only does
52:05 it allow us to identify the card thanks to the glimpse, but as there are three cards
52:11 imprisoned together, they slide out all at once.
52:16 This move allows us to do something which is only possible with thread and that is to
52:21 pull three cards from the deck like so without being suspected.
52:27 Nobody can do a triple lift in this manner without thread.
52:32 You pinch the three cards which remain tightly pressed together.
52:36 The three cards are placed as one in the left hand.
52:40 The thread falls away.
52:42 Let me do it again very slowly.
52:43 We are like this.
52:45 We just do the following movement and the thread comes free.
52:48 The left hand displays the cards to the left in order to prepare the lapping.
52:53 That is to say that the two cards behind the ace of spades, perceived by the spectators
52:59 to be all one card, these are going to be placed into my knees in the space of one second.
53:07 This is done by the act of transferring the cards back from the left to the right hand.
53:14 During the transfer, watch carefully as it is not easy to catch, the two cards behind
53:20 the ace of spades fall here into my knees.
53:25 You have to do all this in one smooth action.
53:29 The ace of spades is then simply placed back onto the mat.
53:34 At this point, what is happening in the spectator's mind?
53:37 They saw the ace of spades enter the deck, come out, but they think the two signed cards
53:43 are still inside the deck.
53:45 In the text which I chose, the policeman has two assistants.
53:55 Don't forget at this point, you could of course make up your own scenario.
54:00 Remember there are two assistants.
54:04 You make sure you remind your spectators of this by displaying your hands like so.
54:11 This gesture sends out a subtle message to the spectators that your hands are empty.
54:16 You say something like, remember at the beginning of the routine, the policeman had two assistants.
54:21 At this point, you move towards your pockets and while you appear to recuperate the cards
54:27 in your pocket, you grab hold of the cards that are in your lap.
54:31 This is done in two synchronized movements.
54:35 The left hand is going to go into the left pocket as the body turns slightly to the right.
54:42 As to why we do this, you're going to see immediately.
54:45 I turn to the left, explaining to the spectators that I am going into my pocket.
54:49 In reality, I am going towards my knees.
54:53 I am going to grab hold of one of the two chosen cards in my left hand and the remaining
54:58 card I palm with my right hand.
55:05 The body continues to turn to the right like so and we indicate that we are going to take
55:11 a card from the pocket.
55:16 Just before this card comes out, the right hand is going to place in the right pocket
55:23 the second of the chosen cards.
55:27 In one smooth movement it looks like this.
55:29 You say, "Remember the assistance of the policeman, the two jokers?"
55:35 As it now happens, our friend, the ace of spades needs help.
55:40 We are here.
55:41 The left hand has taken the card.
55:43 The right hand drops the second one in very quickly, looking like this.
55:48 You show the right hand empty.
55:49 You take the second joker.
55:50 In fact, it is the second of the cards chosen.
55:54 Now in the spectator's mind, these are the two jokers.
55:59 At this point, it would be a shame to destroy such a great climax by simply showing the
56:04 two cards immediately.
56:07 This allows you to have a slight time gap and to be two steps ahead.
56:12 This is something which is very important to magicians.
56:16 The magician then proceeds to placing his two jokers into the spread-out deck.
56:21 Here you are at the peak of the routine and at the peak of magical ecstasy.
56:26 By simply turning over the spread-out deck, the two jokers create the illusion of turning
56:31 into the two chosen cards.
56:34 This appears as if the images of the two chosen cards were absorbed by the jokers.
56:39 All you have to do now is wait for a thunderous round of applause.
56:43 Hello, Melanie.
56:46 It's very nice to see you again.
56:48 Melanie, are you aware of the oldest dream of man?
56:54 Let me tell you what it is.
56:56 It's to fly, to be able to take off and discover the universe.
57:01 What I'd like you to do with your index finger is point to a card and when you're ready,
57:07 just slide it out to the front.
57:09 Perfect.
57:10 Now, the card you have just chosen, do you know what we're going to call it?
57:17 No?
57:18 Icar.
57:19 Just like the one who burnt his wings because he moved in too close to the sun.
57:26 Watch carefully.
57:41 Quite strange, Icar's dream.
57:43 And it's this dream you've just witnessed live.