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by Daniel Quiles

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Secrets by Daniel Quiles

[Note that this is a translation from Spanish and is not in perfect English. However, this should not prevent you from studying these creative routines.]


  • The painter of the aces: Four white cards are printed slowly on both sides, transforming one by one and in a visual way, in four aces of the deck. The aces prove to be clearly printed both by the faces and by the backs. The cards are ordinary and can be examined immediately.
  • Counting mistakes: Spectator takes a card freely, and after looking at it, returns it to the interior of the deck. The magician assures that he has a special skill in the tips of his fingers, and that only cutting the deck several times, he's able to find the chosen card without difficulty, but after a first attempt in demonstrating with facts his words, fails, so he leaves the wrong card face upward on the table. Magician excuses himself saying that he only was warming up his fingers, but after the second attempt he returns to fail again, and leaves the second wrong card face upward on the table next to the other one. Recognizing both previous mistakes, the magician makes clear that it is not that his skill to find the chosen card has failed, but he has made something still more complicated, and comments that really both unsuccessful cards will indicate the exact position to him where is the spectator's card lost inside the deck. The first wrong card is a number two, and the second card is a three, both cards form the number twenty-three. The spectator counts one by one over the table twenty-two cards, and the one that falls on the number twenty-three, is his chosen card.
  • The Daroca Theory: The magician shows thirteen well shuffled cards of the same suit, and distributes the cards alternately in two packets on the table, showing that each of them has a different letter written on the back. He asks the spectators if they have ever heard speaking about the Asian magician Nitsuga Daroca, known throughout the world for being the one who formulated the "Daroca Theory". As the magician affirms, the above mentioned theory assures that though one shuffles thirteen cards of the same suit; the central card always should be at seven cards of distance of the ends, and that in addition, it also will be a seven. The cards are shuffled untidy and on having extended the package on the table, the central card, as the magician has said, turns out to be the seven. The magician returns to shuffle the package distributing the cards alternately on the table, joining them in a simple packet ultimately, and the spectator cuts and completes the cut the times that he wishes. The magician returns to say that, as the "Daroca Theory" affirms, when the central seven is shuffled with the rest of the cards, as much as these have been mixed, thanks to its magic influence, the cards preserve a perfect order. Magician places one by one the cards face upward on the table, and inexplicably, they all are put in order from the Ace to the King. In order to finish the trick, the magician reminds the spectator that as "Daroca Theory" pontificates, inside the most chaotic disorder a complete harmonic order always exists, and all of this we owe thanks to the magician whose theory takes his name. He turns the cards immediately afterwards face downward and now at the backs it is possible to read clearly the word: "DAROCA THEORY".
  • The trick I would have done to Daley: Magician clearly shows the four tens of the deck in his hands, which he leaves face down in his left hand. He turns face up the bottom card in the package and it is one red ten, for example, the ten of hearts, and leaves it face down on the table. Immediately afterwards he shows the face of the following low card and turns it again face up in the package, showing the other red ten, which he leaves face down on the table next to the other card. Magician changes the positions of the cards over the table and asks loudly where is one of the two red tens that he showed, for example, the ten of diamonds, and whichever would be the response he says that actually the cards that lay on the table are black, and not only that, but they are each the black kings of the deck. He turns face up the cards of the table and they are really the black kings. He shows both cards of his left hand and they are the red kings. The four tens have inexplicably transformed in the four kings of the deck.
  • The only one: The magician shows a deck with red backs showing listlessly that all the faces are different. The spectator takes any card, for example, the seven of hearts, and signs it by the face with an indelible felt-tip pen, losing immediately afterwards his signed card inside the deck. Next the magician extracts a magic card of the pocket of his trousers that is different from others because it has the face white; it is the only card of the whole deck that has the face white. He makes clear that the above mentioned card possesses certain magic properties that he is going to demonstrate next, and in order to do it introduces the card with the white face in the centre of the deck. He realizes a magic pass on it, and inexplicably, the card rises to the top position. He returns to lose it inside the deck, and once again, the card returns to rise incomprehensibly to the top position. Immediately afterwards, using the same felt-tip pen that the spectator used to sign his chosen card, marks the back of the card with white face with one great black X, and leaves his magic card separated aside on the table. He comments that the spectator's signed card has remained impregnated with the extraordinary properties of the white card, and now it will also rise alone to the top position of the deck, but on having looked at it, it is not his signed card. He waits a few seconds and explains, apologizing, that actually it has happened something slightly furthermore inexplicably, the deck has copied the singular property of the white card so much, that now all the cards that compose the deck also have its faces white. He extends without interruption the deck face upward on the table, and now all of them have the faces absolutely white. But the question now is: what has happened with the spectator's signed card? Has it also remained white? The own spectator turns the card that is face downward on the table, with the back marked with one great black X, and surprisingly the magic card with white face has transformed in his signed card. Now it is the only printed card of the whole deck.
  • Turning the Jokers: Three spectators choose three cards, and after signing them by the faces, get lost in different places inside the deck. The magician extracts four equal Jokers from his pocket, commenting that they have three strange magic properties. The first one is that they have the singular aptitude to turn face downward inexplicably, and one by one, the Jokers are turning face downward showing the colour of the backs. The second magic property is that in the same way as they have turned face downward, they are able to return placing face upward, and again, one by one, the Jokers are turning over, but this time face upward. The third one of the magic capacities that the Jokers have, and probably the most amazing of all, is that beside of turning face upward or face downward, they are able to catch between them any card that has been signed by the spectators. The magician loses both four magic Jokers in the centre of the deck, and on having extended it immediately on the table, between them appears three cards face downward, that turn out to be the three spectators' signed cards.
  • Identity: The magician places on the table two decks of different back colour into its respective boxes, one has red back, and the other one has blue back. The spectator chooses freely one of the decks; let's suppose that his choice is that of blue colour, and a card is taken from it, for example, the Ace of Clubs, which he keep immediately inside the pocket of his trousers, or makes it face downward on the table, concealing the face all the time. The magician takes the deck with red backs and turns it face upward, extending it between his hands simultaneously that he get up to the half some of the cards out between which he believes that is the homonymous card to the spectator's chosen one. He get the cards out and leaves the deck aside, placing immediately afterwards face upward on the table the extracted cards, naming them loudly, but the spectator does not find his card between them. The magician has failed, but he excuse saying that he has not explained well, and that what he wanted to say was that what the cards of the table will do will be to reveal the identity of the chosen card. For the first time, the spectator names and shows his card. The magician gathers the cards of the table and turns them back upward, being seen a clearly drawn letter where there was nothing before, and distributes the cards, face downward, in circle on the table. They all have written in the back a letter in black colour, all except a card that leaves placed in the centre of the circle. Reading the letters of the backs it is possible to easily read the name of the spectator's chosen card: "ACE OF CLUBS”. The magician remembers that between the cards that he had extracted of the deck before was not the Ace of Clubs, but now he slowly turns the card which back doesn't have a letter and that is placed inside the circle, and surprisingly, is an Ace of Clubs.

1st edition 2012, 62 pages, illustrated.
word count: 22821 which is equivalent to 91 standard pages of text