The Poker players Royal Flush

■ -o ofi-ird chicanery is an allusion to a classic trick sometimes called Tlte title of this dever p'«^ bya ^^own magician named Steve Belehou'-

-n„. Poker HajwW«:. tiie following is a modernisation (featuring an

ItSwSad« a dramatic conflict-just when everyone seen« to entity dfimri*ntfwU^expected denouement.

fjSL deck Ls cut into four packets by a spectator. The top canls turn out to be Urn* AreSone nuss. However, the latter Ls used to locate the fourth Ace. A further surprise cli-mares this astonishing demonstration or die spectators skill, which was obviously coached by the magician

Construction, Management and Script

Impossibilities are immediately satisfied; miracles take a little setup. So stack these cards face down from top to bottom as follows Ace -Ace -Ace-ai ly Five-King of Spades-Queen of Spades-Jack of Spades-Ttn of S} >ades-Ace of Spades. The King Queen, Jack and TVn can l>e in any order, making diem quick to anange. The present order; however, yields a final display dial is pleasing to die eye. These cards can be easily allied on die oflbeat, or in the course of a previous effect (see "Secret Setup", |>age 1124).

lb a sjiectator you diink does not look much like a poker player "Have you em- wished to become a professional jnker player?" His reply might be a source for some pleasant interaction, which you should certainly acknowledge. Then, whatever lus answer, proceed:

'WeU, I've dtivlnjMxl a pmcvdwv that tests the aptitude of ¡xx>j)lr to be successful piv-

fessitmal gamblers, Should this be their desire. " This preamble, we hope, will (-.itch the audience's interest

Continue, "First mmes basic canI haniUiruj like slmffling—am/ method you, pntfen " As > ou are saying this, give the deck an overiiand shuffle, retaining at least the nine-card top

^i Jn.TT Uy Idea^you ^M fo"ow suit by doing a tablet 1 riffle shuffle, again TfT F°r -vou k» than half die deck and shuffle it into the me3^ttS 8 bk,t'k °f 31 least ^ fall last-or use a more advanced meuioa (see Volume 3, pages 646 and 616).

ose to center as m can-just one cut and no adjustments a re alloué

Direct Ills actions so that he aits the ¡S * * Jf®**

eventually take. The top lialf, containing the setup, now rests atC 1

Make a positive comment about his cut, such as '"Ihank \jou rvry much! I think, you did quite uvil on thisjirst /nirt. I can tell this is not thcjicst time you'iv handled cants"Then instruct him to repeat the exercise by cutting about lialf the cants from B to A, then about half of C to D: At the end of this procedure your setup rests on top of Pile D, which Is furthest to your right in the row. Tliis procedure ensures that the four piles are approximately equal in size, something that is far less certain if you were to ask your helper simply to cut the deck into four portions, as is often done.

"But hew is the mil test of your latent gambling talents. You have obviously not only cut four piles.." With your right hand, pick up Pile D and place it face down into left-hand dealing position, tapping it with your right index finger to emphasize the fact that packets have been cut. "...bul you have also cut to ¡nvcisdy these four crnrls." You will now apparently turn over the top card of each of the four piles, showing them to be three Aces and—ail apparent miss—a Five, Grasp the top card of the packet you are holding, snap it off the left thumb and replace it jogged diagonally outward on the packet

Clearly, but with a slightiy accelerated pace pick up tlie top cards of Piles C, B and A, and arrange diem in a fan on top of the first canl With your right hand, take diese four caixfa and, with die aid of your left thumb, rapidly reverse count them on top of the packet as you explain, "And these four anils could haw been any amis firm this deck of MU-tlvo" Although these actions should be performed at a brisker tempo, since they an? secondaiy actions leading to die more important action of showing die Aces in just a moment, diey must nonedieless be performed with utmost clarity to prevent your audience from dunking you did anything "fishy" at this point

"Let's see what anrls you ad to. Thcfitst cxinl is—an Ace. Not bad at all, if I may say so." As you do say so, take the top card into yom- right liand and turn it face up, holding it to die light and forward of the left hand's packeL As the audience's attention is occupied by die right liands action and die accompanying first surprise, use your left fingers to pull tiie remaining diree fanned cards onto die packet, and catch a left little-finger break below them

Look at die spectator as if cutting to tJiis Ace were quite an accomplishment. Depending on your performance style, you can make any type of enUiusiastic remark I can see someone like Juan Taniariz sliaking the spectator's hand at tiiis point And to do tliis you must place the face-tip Ace briefly onto the packet in an in-transit action, to free your right hand

Whatever you do in this vein, it will elicit some kind of reaction from the spectator and the rest of the audience, which lowers their attention briefly, creating a weak moment after the strong one of revealing the Ace and commenting on it. Immediately grip the four cards above the break as one in right-hand covered end grip, and place everything squarely on top of Pile A.

You have apparently merely turned over the top card you have previously taken from Pile A and put it back The fact thai this is done with Pile A, furthest to your left, affords maximum cover from practically all sides for the thickness of the packet. Some j)erformers spread the packet toward themselves as they set the Ace with the hidden cards on top. I find it more unassuming to put everything squarely on top and kick the Ace slightly with tiie tip of my right index finger as the hand retreats, so that the Ace eventually sits obliquely on its supporting packet

As attention momentarily rests on the action of your right hand, use your left thumb to push the top three cards of its packet slightly to the right, creating a fan similar to the one you formed earlier. At a slightly accelerated pace, turn over the next card of the packet, revealing a second Ace, and place it on top of Pile B, using exactly the same liandling (covered end grip) you used with the fust Ace. Then turn over the next card, revealing a third Ace, and place it face up on top of Pile C. In both instances here you perform an innocent action that functions as "retrograde conditioning". In other words, the spectators, witnessing these "clean" handlings, assume that the fin* action, which they might not liave perceived as clearly, as they were not ready for it, was also an honest one.

As you move to turn up the last card, look at the spectator in triumph. TUm it face up. reading a Five, and set it on top of the jacket, which you then set at the right end of the tabled row without looking at it -

mtulate you on an incredible..." As you are , „„ / sinrcreiy uxint to conff ^ isn't right. Look down at the

'f:«ry card *u^ seen, to nob« ^ <m no, von m issed the last ffjsssg^^

often than not, aspecti c

» «v sr. youreelt b of pue D face down into a diagonally rie Five under its pile and ^S^Sdcally turn over the fifth card, revealing tlie Ace of Spades. Your exhibition nas > ^ ^ mtumber Unt 0* be*

«o. # ;f mi ever become a pm/essOT«» . u,e Ace „t spades and use it lo

,,ip the four-card spread face up.

complete the display.

Final Notes

1. The iearler nmy have recognized this as 2. TliLs effect lends itself to many differ-

:ui eniU'llLsluiwut on Spectator (Juts to ent presentations. The spectator could

the Ai vs. Naturally, other methods of arriving id the three Aces and the Five from tl \e spectators cut | >iles can be sul> stituted for tlve one taught above. (See, for instance, *A Psychological Tfesf on page 1 lit).) With * une methods you will have to mqve the Y\\v fnnu fourth posi-ti( mi to tl M* ti r\) ii I your initial stack

be given a pill that enables him to do incredible things with cards; or you could give him a glove to wear, which enables his liand to «lo amazing thing?» or you could have him repeat a formula of positive thinking each time he cuts. 1 encourage you to devise presentational ideas that reflect your own interests.


Poker burn

Effect '^BW

The deck is shuffled and cul. Then a twotanded game of draw poker is dealt. The spectator may draw any number of cards to tiy to improve liis hand After the performer has drawn his cards, he is seen to hold a royal flush in spades.

Construction, Management and Script

Bring die cards for a royal flush in spades secretly to the top of the deck—their Older doesn't matter—and add one indifferent card between the fourth and fifth cards of the flush From the top of the face-down deck you now haw four cards of the royal flush in spades, followed by an indifferent card, the fifth card of the royal flush and then the balance of the deck. If you Use a spread cull (Volume 7, page 187) to obtain this short arrangement, simply cull any ami of the royal flash, then an indifferent card, then cull the remaining four cards of the flush

By means of an ir\jog shuffle (Volume 7, page 44) add one card to the stock (this will actually take two shuffles). Immediately perform another shuffle that consists of limning the top three cards, ir\jogging the next, then throwing the rest on top. The I »revity of this shuffle will go t iy unnoticed if preceded by the two nomuil-lookingshi lilies Adjust the deck back to dealing position and obtain a little-finger I )reak above the iiijogged card by lightly pressing down and inward with your right thumb on its inner end. Do an all-around square-up to complete tin* squaring action, and in die process reverse the four canls below the break using the Christ twist (Volume 4, page 988) or any other technique that achieves the same i n iq>osc secretly.

It's quite possible to achieve this preparation in the course of a preceding effect, or betteryet, to gather the necessary canls on top of the deck during the preceding effect and then do the shuffle and reversal in an offbeat moment.

You now start the presentation by riffle shuffling the c leek on the table sewral times, retaining tlie top throe carrLs and the bottom four cards in position. This might easily be the simplest of false riffle shuffles, since all you need do is drop a block from the bottom packet fust and drop the last few cards of the top packet last You might next give the deck a nuuung ait that retains the order of the cards, then do a second false riffle shuffle. In any case, finish tin« mixing sequence with a false ninning cut, preferably I>ai Vemonfc cokkleck art, bccausc it us.*

a wrv fair looking straight cut at the end (Wume 2t page 380).

Explain that when a game of cards is dealt from the luuid. rather shoe, it is customary to W-that Is reverse-the bottom card. I ■ ^¡¡¡^

deck into rigliMiand end grip as your left thumb pulls the top card to the left and revolt

.. nr rhe deck and face up beneath. The burned card will l>e one of tlie it arDimd the left side o t e d ^ ^^ nui|ter me face ofrhLs card dashes, attt^K no

^^^Sleto^ls index if this legitimate reverse is done smoothly.

Pause for a moment; then turn your left hand palm down, exposing the back of die bottom canL As you turn the hand, pull back your fingertips on the back of the bumed card, curling them in as if to display the card better. Tliis position exactly simulates float die left hand wm assume shortly, when executing die Carlyle turnover. At the moment, diis movement is used in an innocent way and establishes a stale of conditioned naturalness. To justify diis display, explain thai "burning a card" simply means that a card is reversed on the bottom of the deck to prevent cheating You promise to expand on diis point a little later.

As you am performing these preliminary actions, introduce the topic of the current exhibition: a poker demonstratioa You may tell one of coinidcss anecdotes about card cheats, relate a personal gambling story or simply explain diat there are various types of |K)ker and dial you will show your ability at the most common variant, draw poker. Wliatever you say, make it interesting so that you arouse intrigue and curiosity in the group.

Hold die deck once more face down in dealing position and honestly deal two five-card hands. Set the deck to your left, doing so with just your left hand, as this one-handed handling will be used repeatedly, and again establishes a state of conditioned naturalness for an impending sleighL With your right hand, pick up the carrls you 've dealt to yourself and use both hands to spread them. As you look at them, let your expression tell the audience that you arevery unhappy with your cards. If you happen to have a good hand, dont show them UK* cards; otherwise, briefly flash their faces while making an appropriate comment.

S JT c^ flown in ft™1 of you, taking care to place the card from the royal flush on v u 2 '! *** **** W(><l fi°m the other four. Ask how many canls

^IUs—^ ** and ol ^ capds he mmt focuses his attention and dial of die audience which has SSZf"1 °Lrnisdirecti0n you I«**»™ an apparendy liannless action. I mm&y |«n conditioned. You secretly turn over the deck as you perform

Tb the audience il looks as if you are merely displaying the underside of the deck, as you did earlier. Don't look at your hand as the turnover takes place, but sliift your gaze downward as soon as the apparent bottom of the deck comes into view. Explain, "And mruwlxr that the burned caixl on the bottom pivcents me from executing the nvxstfcaml of all cheating sleights, the bottom deal" Use your right index linger to ix)int to the visible "bottonf card Keep looking at your liands, making them the center of attention; then slowly and clearly turn the lefl hand palm up, so thai the deck lands again in dealing position, lb d< > this, you extend your left fingers until they can curl gently around the right side of the deck You have thus imperceptibly turned over the deck, bringing the five cards previously reversed on the bottom to tl\e top. 1 - r JH


Gambles wlutf is commonly called (he Carfyle turnover"' TV,»wm .»,„ „

beneath the deck and use it to flip the deck ovor ¡¡.S12! r' mme your hand palm down. * ^ to ,ho ngJlt 38 you amulteneously turn th, thP deck, taking care not to flash the faceup ,r too fo'ir ^ \ You have just dealt yourself die remaining a spade. Of^fX ^ V*»-* ,he cards that be** ^lete your roya<

four spade it" , u Uial you are holding the winning deck agam to your you not oi^revea. ^ ^^ prove ^

Kow co^SSSfrd seduce Udy U,k iteSen able to beat the odds ^ ^^ ^ ^

with iw* you W hope) on the oQbea^ with of the action is ^miliar and seems »

pletely naturaL

down ir?agnvn ient'witl'/ij'i ft ^'¡"i" ^ ofthe deck« burned card, and turn it face

te action.

Final Notes

1. A simpler version of this effect require* X being the total number of playoa So, culling the lbur Aces to the top of the deck. Add iin indifferent card over the Aces and then proceed as described. Tlttil Is after false shuffling to retain die top stock, run four cards and throw the balance on top, obtaining a break above the bottom four cards. Secretly reverse these four cards and bum the top card, the fourth Ace. lYoceed exactly as described, exchanging four cards, which leaves you with the four Aces at the end. Although this is a little more slraightibrward in method, it will be easier to reconstruct, since you clianged four cards and end up with four Aces.

2. 1 liave described the action with only two players, you and a single adversary. Naturally, you can extend tliis demonstration to include any number of players, and the numlxr can be stipulated by the audience. 'Hie only adjustment necessary concerns the initial setup. You must place as many indifferent cards lx»tween the fourth and the fifth cards of the royal flush as there are other players—« >r X-1 cards, if you are going to deal five (X) hands, lurve four cards of the royal flush on top and plait» four (X - l) ^different amis beneath them, followed by the fifth can! of the royal flush Those proficient in advanced riffle-shuffle work will lie able to add die necesviiy cards in the counse of the riffle shuffle sequence mentioned in the explanation. The simplest way of doing tliis is to start with the five canls of the royal flush on top of the deck, then add an indifferent Card alxive them. bring the top four cards to the bottom and reverse them with the Christ twist. Now; as you do a few riffle shuffles and running n its, you can easily insert the required number of indifferent cards between the first and second card of the royal flush, w hile ¡it the same time retaining the bottom stock of four reversed cards. If you use the simplify version, with only four Aces rather than the royal flush, you dfflVt even need to Ix »ther with tliis. Ju&t deal the neceasaiy hands, deal out the draw, then secretly turn over the deck as descri)>ed, before you deal yourself the winning cards.

Mental Effects

What is a true seeivt? Something that is there for eixmjtxxhj to see—

and one iveognizes it, the other doesn'L


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