Fantasist at the card Table

Tins is a routine belonging to the genre of gambling demonstrations, as seen by a magician Unlike other routines of this type, it involves various carrl games that may or may not be familiar to your audience. IVe tested this routine in front of audiences, mostly European, whose knowledge of die rules of poker, blackjack and bridge was limited; yet, they have all responded very favorably. IVe given up any feare tliat I might have had about the entertainment value of the routine, and 1 we made it a regular feature of my act for the public

The few basic game rules the spectators need to understand are dearly explained as die routine progresses and its success is due to die fact dial, whether die sj^ectators are laymen, card players, gamblers or magicians, they are all to some degree interested in games involving chance and in the ways of controlling it

My first inspiration to tackle a piece of this kind came from reading a routine by Frank TVavere, published in The Jiwcfi The first result of my efforts was published in German.* ' Over die years I have made clianges here and there. At some point it seemed obvious to me to use Hie brilliant idea dial introduces Dai Vernon's uPoker Demonstration" to increase die concealment of the full-deck setup and provide an interesting lead-in to die routine.®'


After showing some cani illusions, die magician says that he will demonstrate how card cheats connive to l>eat die laws of chance. His demonstration will address the games of draw poker, stud poker, blacKjack and bridge. With every deal, each player is given a good hand, but die performer's is always better.

Each demonstration seems more impossible dian die last, with the cards I jeing shuffled again and agaia Finally, the performer deals himself the most difficult hand to obtain in bridge: a grand slam—all tJiirteen spades! As d lis seems to top everything, the spectat ors think the demonstration lias come to an end. But, to ewayones amazement, there is still more to come!

Comtmction, Management and Script

A full-deck setup is necessary. Here is my way of setting up die cards. First, 1 divide the deck into the four suits, alternating the colore; for example, die thirteen spades, followed by die thirteen hearts, followed bv the thirteen clubs, and finishing with the thirteen diamond I dien ribborvs, >read the cards face up, Which enables me to find the required cards at a glance and to put them lace irp into my left hand in die following order.

, „ , ,hp above arrangement, the tor» card of the face-down deck J i* ,,w

T'JL left with the four Aces, which are distributed in any order in the deck.

' , in, Kin* this routine regularly, you may wish to speak the order slowly onto a tape the tape as you listen and deal the cards mto the nx,uisite orteT*

^1 iii 11 ild follow several tricks in which die deck Ls obviously mixed and shuffled essmseee s - Ml * iryou don', have a pe, d* ^

And some excellent one, In WumeA, Ctapter42.

Tlie routine begins with...


-Eivmonc likes to see a cent hick now and then, because it is t)oth su,prising and entertaining. On the otlur hand, ran are those among you who have had the oppmffity m see how pwfissional cant cheats connive to influence the laws of chance in theirfam Wl, here's something that may be qf interest to those of you who've not been lucky enough to see them at work"

You can if you wish, give lite deck a few false riffle shuffles as you deliver these introductoiy remarks (Volume 3, Chapter 33). If the deck lias been switched in a clever way, and if a sjx-ctator lias shuffled the previous deck several times, it might be enough to give the deck a few false naming cuts as you speak (Volume 2, Cliapter 25).

Ribbon spmad tlie deck face up and push the four Aces forward and out of the spread Then gather tlie rest of the deck and hold it face down in left-liand dealing ¡jositioa

If you prefer, rather tlian removing tlie Aces in tiiis simple fashion, you can arrange them on top of the stac ked deck, or in any other position, from which you then produce them magically, as an introductory effect There are eniUess Ace productions to choose from (for example, "Sign of Four", page 1199), although a sequence keeping within the gambling theme of the present routine is desirable. I prefer to look for the Aces openly, as just described since tills implies that you dont know when? they are and, therefore, tlierp is no specific order to tlie cards. If tlie Aces are produced, an audience senses then? lias been some kind of prearrangement, which Ls a thought you don't want to arouse in this routine.

"One qfitumy ways of cheating am occur after the showdoum has taken place. While the tJayeis relax, count the money Or order a drink, the cauls atv picked up in a way that brings together some advantageous cards for the cheat. 1st me iUustnde with the four Aces. Vwyamloo obvious in realplay, butfor the sake qf this emanation they will be just

' , n,, y°" ^ ^ P* a downward crimp in die iiuier left comer of the bottom card ( Witme2, page 347). You can also crimp the outer right comer and then bring it leR WtJl 80 ^omi squar^up action tliat turns tlie deck end for end

7ZZr'm'ry, mru" 7nethods' I'm not at liberty to disciav. W truth* ," ' Z "1)n 1 """'< >">' refuse I may, hour,*,; disclose the haymow Mtfr J l:: ; >'''">" *»» afaimite with Wild West caid Chads and CO»''

mn four cards into your left ham! and dimw die balance on top. Yoii have thus reversed the top four cards while transferring theni to the bottom, below the crimped card m M the CM cheat, tvlujse turn it now is to mffle and deoL has mammd to isolate four (food amis and briny than to the top ofUic drek" Pick up the facenrp Ace of

Hearts from die table, use it to scoop up die faceup Ace of Spade*, use these two to scoop up the face-up Ace of Diamonds and use diese dime to scoop up the face-up Ace of (tubs

TYim the gathered Aces face down onto the deck and pretend to lose them in die pack

However, you actually use any kind of Uansfer cut to bring the Ace of 1 leans to the bottom

(Volume 7, Chapter 6), leaving the other three Aces on top. The order of the rest of the ranis Is left undisturbed

You now start die liaymow shuffle sequence from "Vernon's Poker Demonstralionr As with anything from tills master, it Is almost impossible to improve on ii The only thing I've added is a humorous line at the end of the stacking sequence.

'Vie haymow shirfflc is a procedure infnr phases, based on a mathematical formula where X nynvsents the numlm of rfayent. How about four jiqyersT1 Wait a second, dien continue: "Or, if you likeJive /V/i yerst si nee an odd number is much mondHHeult, because of the disjxi rity of the runs." This last statement nuikes i io sense, I nit it soum Is technic al and therefore convincing; and since it creates a moment of conversational Irance", there will be no opposition to die number of players you suggest.

Immediately lead to the next action, which is die first phase of the "liaymow" shuffle: "First, twice the number of jMiifers plus one; that is, two times \\ ¡this one, which crjfeals eleven. Bring the deck into overliand-sluiffle position and nui eleven can Is into your left hand; then drop die balance beh ind the cards just shuffled off Through ttjis process die top eleven cards liave been reversed and put back on top.

Immediately continue, "Then X minus one., iriiuh is four" Rurt four cants but this time dirow die balance on top of diese four.

"Hum theamet number of ¡itaycn, which isX;thnt isJil*,,Run five cards and throw the balance on top.

»Then one—to ami])ensatefor the minus onefmm btfore."(This Ls the line I mentioned having added, which may not read as terribly funny, but it always gets a laugh for me.) Run a single cani and throw the balance on top.And finally X, which t xpwlsfu*" Bun five cards and dirow the balance on top.

Aldic >ugh the shuffling procedure Ls extremely simple, it doesn't tolerate mistakes. TX) av.>id miscounts or miming "double ranis especially when using an older cteck, i*rionn the runs slowly and carelUBy, which Ls acceptable since you are -expluning . Intfead ohe ng boring, which it could seem upon reading the description, audience find d - si ft g procedures to be very amusing, as do 1, since 1 am explaining the real method but no one believes iL They diink you are joking.

Here is one las, hi, 1 use to cap the shuffle / iUr ^.¡Uv sjK-ctator and haw him give it a straight nit.«tanres an-good that he

«ud to the bottom. If tie does, you will see it when you pick up 'JJj*^ I^ttm*! «anl I land dealing p< ** .a But wW do you do if he misses the crimp? I '«uUly "W*

r ^nte from llie top or bottom. Say. "Viank you, yon gave the deck « will be just a few ton ti^ P^ ^ fl ,m„ like Ulal Qnd m

/llirnd. You WM1* > ^ bn„g the deck veiy close to your eyes, as if you ^

" <v"lJi; oJ rrimped t-aid to the bottom. Immediately add, "He pmixMg though,

^jSffiZrfW** it doesn V matte,; at att whem you cut." Not only fa^

telling tlie truth,


while bringing die

¡ngtnecarLiswiuici^iwi*^*--—»—*----—- ^""^u^uuui,

it It doesn't matter where he cuts because, if he doesn't cut at the yet they don\uiulerstanu i ^ ^ ^ ^ second time weVe told tlie truth while achieving

"crimp, uill adjust for it. a secret piupose.


Thke die deck into dealing position and, with the cards face down, deal die first round, beginning with a (fictitious) player sitting to your left, and continuing clockwise from left to right. Deal Players A, B, C and D their cards face down, but deal the one falling to you face up. "One Ace—haymm shuffle—any quest ions at this point?" Tte first card will be die Ace of Hearts, and its appearance will cause quite a surprise, since everyone assumed what you were telling them was absurd.

Tlie next round of five cards is dealt onto the lirst five cards, but in such a way dial die latter remain in view. Tlie card in your hand, die Ace of Clubs, is dealt face up onto die Ace of Hearts, overlapping it diagonally inward and to the left, This is the way cards are dealt in casinos; it enables die spectators to see the iiidcx-comcre of both cards. Again, diis gives die demonstration an air of authenticity. Use tliis procedure whenever you have to deal a small number of cards face up 011 top of one another.

Deal the next round and get die Ace of Diamonds. Each time ail Ace Ls dealt, name it and follow with "...haymow shuffle!"

Some spectators already anticipate tiiat you are about to deal youreelf the fourth Ace. Start die fourth round, dealing a feeedown caid to each player, on top of the diree cards already u J their hands. As you take die can I for your hand, the Ace of Spades, stop briefly and look at uie audience. At this moment your left litde finger obtains a break below die top canl of

Z 2 T rSb 811 iWlHnsit return die Ace to die left Iiand's packet, jogged to ZT i n, *** m which niak(* a gesture of absolute conviction- "Km **> SC. f mf("/S'"M " back to intake its and, the left thug pulls die card square with the rest of die deck and die right hand executes a double W***


I *




to display the 'l\vo of Hearts. In a slightly less confident tone. say. "Abmt~*eijer. " With a little more hope in your voice, arid, % doesn 't matter, we still have one mmd tni> Ttal the double card face down on the deck and deal the top canl the Ace of Spades, face down onto your three face-up Aces.

Deal the fifth round: Players A, B. C and D still get their ourls face down The feowm «ml you deal to yourself will be die Eight of Hearts. Go on to say in a serious manner. "When hi finds lumsey in a tight sfibl tike this, a canI cheat has only one solution tefl m get out of H—but he must know pie exact location of the fourth Ace in the deck, the Ate qf Spades."

The following quick effect is quite wonderful; I first saw Daiyl (one oi the U.S.'s modem masters) use this. Set the deck face down and side wise in front of you. With your left thumb, riffle up die near edge of the deck and say, "Yes, the Ace of Spades is thirteenth fixrm the top—and HI exchange it with the Tim of Hearts, Using the one-handed thmw-thmugh-Uw-dcck-ainl-sivitch—the haymow switch" With your right hand, pick up the face-down card from your* ¡>oker hand. Riffle up die edge of die deck a second time and stop when you have reached the approximate center, dien lift die upper portion wiiile your right liand sails its card between and right tlirough the two portions of the deck.

Return die upper half of die deck to die lower and square the assembled deck before you show dial die T\vo of Hearts lias changed into the Ace of Spades. Drop it fact» up onto the Eight of Hearts. Because of its design, die Ace of Spades makes for a much more striking effect than any of the odier Aces, which is why it lias been kept in reserve fc >r this cltange.

Showing the Opponent? Hands

7te all wry W0L to deal Oneselffimr Aces, but it is <juHe useless if the> other playm9 hands mv not g<x)d enough to molimte them to make high wagers on them. 7talk nity a clever cardrdieal always manages to deal good hands to his opponents as t/* v/.n

You are now going to show the other players' hands. I would like to explain at some length how diis Is done, as it enhances die overall effect of the routine. Begin by showing the cards of Player I >. Sqi iare them wi iile they lie on the table, using the tips of both tiiumbs and second fingers This is the same technique used to square a deck.


,i «rfcpt facedown intoleiWiand dealing position. With your left thumb, pllsh i1k> laetheaman p* k<* faceoo wicltli Thke this card into your right J

^ha wictofr^ urtthyiw underneath and fingerson top. Ry exertinganup^l d°"" rSu,n 2 J.e face of the rani, and a downward pressure with the fingm ()

outward and end over end Place it face up onto the table.

.v ,Hp came with the next tlirce cards, laying them onto the Hist iri a diagonally overiapphg

2m of Diamonds) in the manner just described, your left index finger cuds against lfore of the fifth and last raid, so that you can clip it between the index and middleflng^ Lightens out again, thus snapping the card face up between these two finger n^

ranl,the.lack of Spades, is placed face up onto the Jack of Diamonds.

The cards are dealt onto the table slowly, in an even tempo. After dealing die Five or Clubs, hesitate just a second or so, breaking the diydim and increasing the suspense. Player D has I*™ dealt the following tails Ten of Spades, Hai of Hearts, Five of Clubs, Jack of Diamonds and Jack of Spades. "Two pair."

Go through die same motions with die remaining diree hands, speeding up the ihytlim a little as you proceed, and speaking just a trifle louder with each new liand displayed "A

straight. ..afiill house..Jour-qf-o-kind!"

Picking Up the Hands

You are now going to pick up the caftb lying on the table, and although this must be done without paying undue Mention to them, die way the tends are picked up and assembled is essential to die success of the remaining demonstrations.

The nile you follow is to put the hand lying at L> face up onto diose canls at (then to place these two assembled hands onto B, diose three togedier onto A, and then that packet onto your own hand of Aces. But to avoid making this pick up look systematic and studied, pro-ceed in diis way: While talking to the spectators, take die canls at D into your right ham i and place them onto those lying at C (all cards still face up). Simultaneously take the cards at A into your leH liand and slip them under the cards at B to pick them up. Each hand is now holding ten face-up cards. (The card at the face of the left handfepacket istheThreeofC lubs and dial at the face of die right liands packet is the Jack of Spades.) The right hand now turns its cards face down onto the table; and die left hafid immediately turns its canls face down onto die right hand's packet.

Do not square these cards yet. Instead take die five face-up cards still lying in front of you, moving the Eight of Hearts between iife Aces of Hearts and Clubs, and drop the packet face down on top of the assembled liands on die table. Wliile doing this, say, "What you hair just seen is perfect for an academic dememslmtion qf how one can cheat at cants, hut in a lent game, no jnvfessional canlshcnp would ewr make Uir mistake of dialing himstifthe four Aces. Tliey uvuld shoot him. Thcnfon\ lets bury them somewheiB in the middle of the deck." With your right liand, pick up die remainder of the deck and dribble the cauls face down onto the pile of gathered cards. Now square the assembled deck as you finish the last sentence, and leave it in front of you on die table, in ixjsition for a riflle shuflle. You proceed dien to deliver die introduction to the next demonstration

The Stud Poker Demonstration

"A/as/ of the time, threc-ofa-kind is enough for a winning hand; tlnre Qmyus, say. hi me show you one of the most jxjpular variations qfpoker: stud poker." While talking. |>erft>rm one or two false shuffles dial leave the cards in their original older, followed by one or two false nits. I use push-through shuffles or Zairow shuffles, which lit well here (Volume J, Chapter 33). Whatever shuffle you use, from now on make sure it is one of the rifllo^huflle type, which is the only one used by can! players today. Tlüs gives your deWOnstratíon a more credible ap¡)earance.

Deal Players A, B, C and yourself one card each, all face down From now cm the denu >nstra-tion proceeds with four player only, die iiftli player having <topped out Mte lost his house and his pants." MU

Explain, "In tins mitón of poke Qwfirst aml. rohidi is called U,e Mr m»r. is dating down, and the next four niundsamdealtface itp. Thi'itoyers don I

thru "> M on their hands as soon as thn.W < tíu «„,,„1 u ■ ^

forintenstiny stukn Tfiatís the >vason pmfimkmal player slum, a dMtpnj, »m p, this variation of the game."

You deal the next four rounds face up. and since you I w IMdi three Queens, register a brief moment of surprise on dealing a Queen—namtft V«

The next step consists of turning the hole cards face up. IYe developed die routine so diat the hole cards not only complete their respective liands, but improve them

Tlie first hole canl turned up is thai of Player C: the Seven of Spades. With the Seven of Diamonds it gives tliis player a pair. Drop it face up onto die Seven of Diamonds after showing iL

Player B gets two pair, consisting of the Sixes of Clubs and Diamonds, and the Threes of Spades and Diamonds. As with the preceding hole card, drop diis one (die Six of Diamonds) onto the face of its liand; tliat is, onto the Six of Clubs. "Tim pair, consideivd a good hand by professional jilayers."

Player A lias threeoffrkind in his hand: the Fours of Clubs, Hearts and Spades. Place die Four or Clubs face up onto the Four or Hearts. "77;reeof-a-kiruL " Here, pause briefly in the action, while addressing die spectators: There's only one possibility left for me to have a miming liand..."AL tliis point turn your own hole earrl face up, but toward yourself, so 0,Jy y°u tan see its face. Smile as you turn the Queen of Hearts slowly face toward the

EnorsSte? ''' n"d my 'hini Qucenr ^ 0U(H,r< of Hearts face up onto die llaAi order n<which the hands are dealt widi is always (D), C, B, A

fS°' , caid 18 alvva-vs > onto the face of its hand The same

KSS ,LS0<1,he demonstration, up next. Tills reguL-uitv Is deliberate.

SSETJ?f0r 030,1 it would be ,Sh more difficult for you to n member the procedure and would increase your chances of making an error.

of Clubs—into the hand of Player A Your altitude here shouldI suggest this was not planned This is ¡mother hit ofbusiness that contributes to keeping up the audiences interest.

TV im the hole cards face up in OB-A order, placing each card face up onlo its conipaiv ioa Then turn your own hole card Ca«' up. It is the Ifen of Clubs. Added to the Ace of Hearts, the other card in your hand, this totals twenty-one. "Eleven ¡4ns ten makes twenty-one. Blackjuck!" Place die TVn of Clubs face up onto the Ace of Hearts.

The order of picking up the hands is nearly identical in thm n«nH in «k tion, and will be repealed exactly for die next lu^n'n demonst™-

tan Is are then üSted face do!"and Ä&Srri! ^

in the preceding pick-up, you should perform CSStSS

1, «king at diem and not * the rank To make the pick-up more Ä Xuhe strategy taught in die fust deal; that is, pick up the faceup hand at ? lav i ontot p X

onto A and drop the combined packet face down onto the table ThXte y JoChT

tum it face down, drop it onto the C-B-A packet and finally dribble the balance of the deck face down on top.

The Blackjack Demonstration

"Another game of rhanee in which enormous sums of money air put at stake is blackjack. The rule of this game is simplicity itself. The ptoyo' whose hand totals twenty-one wins. If no hand totals twenty-one, it is the highest total below twenty-cow that wins. All cowl cruris count as ten, Aces air one or eleven, and all the other cards hair the same irilue as their manber of spots." As you are making this explanation, square the deck and give it a false shuffle, followed by one or two false cuts. Then deal one round of cards, face down, to Players A, B, C and yourself, in tliat order. The second round is dealt face up.

"As in the ¡nvceding game, the font round is dealt Jaw down, and it remains so until all the cards haw been dealL Each player may askforas many cards as he wishes; and Uws* ate always dmltface up."

, UD in the now (# patte™ The nght hand picks up u,e lW{)

Again the hands are pic k«i iir Hant| B liands are turned facc down as the left faceup cards at C mid d^ them ^ ^ j( ^ (T)mbuu„ p^ c ^ R hand picks up Hand A, nuns .. m on offhe olilere then pick up your own liand, nun it face

Finish by dribbling the remainder of die deck onto of die assembled hands and square the deck as vou begin your final demonstration.

•Me* waking. (he nil« of blackjack, as they are applied in most gaming venues, require Snctiy speawng. m the first round, whereas die players receive

^te^Str^ the second round die «d, are dealt face up to die pkve* anddiedealer's card is dealt face down and fed betow die faceup card already on die tal.le. S tills second card effective* becomes die dealers hole card. Tins ls a Me more conftis-L forUie performer, but ofcourse Ls die correct procedure. You may liandie it like this if you lite Just remember to drop die faceup Tfen of Clubs onto the face-up Ace before picking up the hands.


"7b conclude this little demonstmtion of liow cardshwps cheat at diffeivnt games, I would like to show t/oti something with the most difficult am!game of tliem all, in which chance plays little part. I'm talking altout bridge. Real fortunes have passed ftnm ¡xn-ket to pocket qfler a game of bridge. The best hand you i-an get when playing bridge is what is called a gnnid slam, litis is composed of all thirteen spades. If lie mints to deal himself such a baud, thccairlshaip mustfiist make suiv of the cxact location of the thirteen spades in the dirk, litis he does in the course of a shuffle: Then, he must distribute the spades thmugh-out the deck, so that they all fall into his hand."

Following diese introductory remarks you must do a false riffle shuffle. I prefer a direct Zar-

row shuffle here, will i an initial center pull-out (Volume :J, page (>34). Here is a brief description of how die shuffle is integrated with presentation arid misdirection: Hold die cards farther away from you tlian usual, almost at aim's lengdi, to lend believability to your contention dial you are dying to see die indices of the spades. Look intently at die deck ¿is your left thumb riffles up the near side and stops when it Ls still holding about lialf a dozen canLs. Now look up. misdirecting, as your right hand pulls rightward less (km half the deck from below die canLs held back by the left thumb, and with tliat thumb catch a break between its top block and the lower half of die deck As you do tiiis, say,"In England a amlsharp once (Wfflded to me that tins kind of shuffle required at least two liundml and seveiUy Itotns qfpmctice!"

In any group you are working for, there will always be some who will accept tiiis kind of remar k. As for those who don't, they realize you are,jolting

Riffle the cauls together; but do not yet complete die shuffle. Instead, look up and, addressing *,t*tator'ask ^ '7)0 you play bridge?" Taking advantage of the misdirection

S2!2rr;a,Kl *,he ^^* answering it, finish the Zanow shuffle

Wut^'n, ,h" ,X)int il *** no misdirection to be deceptive.

Z n.T"C0Wai nothin« »* —ntis cxtfixlination of

__romes (bKctiy froi" die school of Juan Tbmariz.

«(%ccwse, them stdi rmarm the pni&fem of the cut, „»in, «„, mlun, rtll _ ^ to mthxng. And yet uvuldguan „„■s^-tator cmU, J j perform any kind I**®10 bnng it back to Hs original order (Vrjtu me 2, page 297). (h^lnhe deck yourself, vising a false running cuL

All thai remains Is to deal four hands of thirteen canls each, which you do with a gradually increasing tempo. Although you deal the othertliree played cards facedown deal the cante falling into your own hand face up, placing them in an overlapping row fioni right tc, kit ¡n front of you. This enables the spectators to see the indices of die canls correctly. (if you were to deal the cards from left to right, as Is usually done when forming a row on the table the spectators would see the indices upside down J "And lietv is my gmnrt skm in spades!"

Pause for the effect to register. Many people will begin to applaud spontaneously here. While they are clapping, square the hands just dealt to /V B and C, before- turning them face up as shown in the illustration (audience's view).

•'However, as [am not a mlcardsharp myself, but a magician whose aim is to entertain you with his art, I have tried topteoie my apjx/ncnts as iMt try dealing them good hands, too. He got a ffirtnd slam in hearts, this one a grand slam in diamonds, and the third a grand slam in dubs!" ' -.jE

While saying tills, ft* spread Pile C, then Pile A, ancI finish with Pile B. The carts are spread in vertical rows, pointing to you

Thafe it Only gambling addicts would now want to play canls with Strangers!

Final Notes

1. There arc endless ways to vaiy parts of the routine, and 1 will leave tills mostly to your ingenuity. However, heiv are a few ideas you might wan! to consider

Before going into each new demon-Station* ask o spectator to nit the conk Complete the cut and execute a piw tí) restore their original older

Although this is not essential, it enhances the overall effect of the routine in the minds of the specta-foi% Also, having the cards nil by a spectator is consistent with the procedure of card play. For die bridge demonstration, you could let a spectator genuinely cut the cards, as a simple cut would not Interfere witJi their qyclical arrangement. I lowever, the spectator's cut might result in your not getting the spades. As you probably know, when two (or more) hands are identical, spades win. Therefore, if you were to deal the spades to another player, someone could argue dial you have lost. It is, of course, unlikely rJ\ai anyone would ever make such a remark, as the climax provides very strong misdirpction

The possibility of letting a spectator cut the deck increases the impact of the effect. Therefore, here is what I do. When the spectator lias to cut the deck, I glimjise the bottom card, which enables me to tell the audience which suit is going to fall into my own hand This prediction always makes a strong impression on the audience, as it seems impossible for the operator, after the deck l^as been ait, to deal himself the cards he had planned Of course I only name the suit after the deck Ilk cut, although the impassion

,eJ 0,1 ,Jle spectator is thai I knew it from tlie start.

2. Tliis series of demonstrations perfectly fits <11 the end of any close-up program. The routine is baffling and leaves the audience with a wry good impression of your skills. 1 like to use it for an encore or when someone from the audience uttens the inevitable remark, 41 would hale to play cards with you." It is not necessary to wait for that remark, by the way. You can easily introduce it yourself. Simply look at someone in the audience after you have done an impossible looking feat—in the course of which you have switched the deck, I might add. Smile at him, nod your head and say, 7 know exactly what yoiCiv thinking. Von were just saying to yuuise[f> I won hi hate to play amis with that guy "This always gets a laugh from the audience and from the gentleman to whom you direct the remarlq and the moment of relaxation that this reaction provides lets you lead your audience into the present routine, by introducing it as suggested above, or by saying something like "And you knrm\ you air not completely wrong if you think a magician cheats. though an artist, I cheat in silent agreement with my audience. Actually, it teas no tessa man than thegivat Picasso who said that every artist is a cheat. And he added, "who helps us recognize the truth, "Studying how cheats ojxnntc in mil t{fe is quite an iuijx/rtant part of a magician's educations ¡jet me show you something you won't sec* every day. "Even if such an introduction is not your cup of tea (or Budweiser), it illustrates for you how easy it Is to establish a linguistic bridge from any situation to the presentation of the next piece.

3. Its important that before going into this routine you perform an effect in tiie course of which you can secretly switch the deck you in use for the stacked one. The spectators must 1** convinced dial you have been using the same deck tftSougjhout your iirogram;

? one they have shuffled and cut and handled themselves. Should you perform die demonstration on its own, it will of course still be mystifying and entertaining, but even the leas clever in your audience will suspect the cards liave been arranged before the show.

4. 1 think it's a good idea to perform the routine on a rather large close-up pad Mine measures nineteen inches by twenty-seven. A large performing area makes a good stage for the demonstrations and sets oiT the cards in the displays during die various deals and for the final climax.

5. Note that if you left out the false shuttles and false nits—which you could do— the entire routine would l>e virtually self-working! The only thing necessary in such a case is to adapt your script slightly for the bridge demonstration.

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