## Ww Pokejl Plus

As a demonstration to a lay audience of the magician's ability to control the cards In a game of poker, I think this effect is extremely convincing.

Begin the demonstration with four aces on top of the pack, unknown of course to the audience. Shuffle the cards In any manner you wish, holding the top stock, and then place the deck on the table, let someone perform the first operation of a cut. As you pick up the halves, hold a slight break between them with the tip of the little finger (Erdnaae, page 94 has an excellent method of doing this). If you prefer, you can keep the break by crimping the upper half of the deck slightly.

Deal four hands of poker rapidly and place the deck on the table. Just before you lay the deok down, however, the left thumb fans slightly the few cards that remain above the break. Olance at these cards and count them quickly. Then square the deck and place it aside. This assumes that the spectator cut the cards either In the center or slightly above the center of the pack. Most of the time they will do so. Watch him as he cuts and if he cuts below the middle simply replace the cards and request that he cut them more evenly.

Let us assume that the cards have been out near or above the center. After dealing the twenty cards that form the four poker hands, there should remain between six and twelve cards above the break.

Turn over the four hands and arrange each ' hand properly if It shows anything of value. While you are doing this quickly analyse the first, second, and third hands (the fourth hand is your hand) and decide on approximately how many oards each player (if tnere were a player behind each hand) would discard for the draw. Then juggle these numbers about In such a way that the total number of discarded cards will equal either the number of cards that lie above the aces, or that number minus one. We shall see in a moment why it is possible to leave this leeway of one oard.

I doubt If I have made this clear. Let us suppose that'you have counted eight cards above the aces (i.e. above the break after the hands have been dealt). Perhaps the first hand holds two pair. It is obvious that a player holding this hand would draw only a single oard. Perhaps the second hand holds a pair. A glance at the third hand reveals that it contains nothing. Since the first hand 1TO3T take a single card, you know that six or seven oards remain to be discarded from the second and third Ijands. So you assume that the second player holds only his pair and draws three cards, and the third player holds his highest card and draws four. Or you could permit the second hand to hold a high oard (in. addition to the pair) and draw two, and then give the third player a new hand of five. In other words you must invent plausible excuses for the number of oards discarded by each hand, so that when these hands are dealt their cards it will bring the aces to the top of the deck (or to the top with a single oard above them) so that you will catch them on the draw.

If the aces are on top, then hold the high card of your hand and'deal yourself the four aces. If there la a card above the aces, then discard your ENTIRE hand and deal yourself five cards. In either case the four aces come to you. Deal them slowly and dramatically.

If you are a convincing liar you will find it easy to get away with all this. It combines well with Annemann's poker deal, explained In his book "The Book Without a Name." Employ his deal until four of a kind show up in one hand. Gather the hands with this one on top, false shuffle, and present the draw poker deal here.

A SMART CIGAKfTT£

Undoubtedly this is the most rapid cigarette penetration through cloth yet devised. It takes a little practice to master the move and care must be taken to have the audience directly In front of you.

The cigarette may be lit. Hold it upright in the right fingers as shown in Pig 1. Actually the lower end is grasped only by the thumb and third finger.

The left hand holds the handkerchief over its palm as shown in Pig. 2. It carries the cloth in front of the cigarette, then tosses it back over the right hand, cigarette and all. But as soon as the cigarette is concealed by the cloth, the third and little fingers bend backward so that the cigarette points toward you and the cloth drapes over It as shown in Fig. 3. The first and second fingers remain upright and should be spread slightly to better conceal the cigarette behind.

Pause only for an instant, then quickly raise the fingers and thumb bringing the cigarette upright into the view of the audience. The appearance is that the cigarette suddenly popped through the cloth!

You may now grasp the cigarette through the cloth with the first and second fingers, and release It with the thumb and third finger. This will allow you to tilt the hand forward and raise the back edge of the cloth to show that the cigarette is actually In the center of the handkerchief.

AN fA\$y LESSON

This is a trick of the do-as-I-do variety. The effect is presented as an easy lesson in the art of card magic, but actually the audience is left completely bewildered.

Two ordinary decks are used. The spectator shuffles one while you shuffle the other. Try to glimpse the bottom card of the deck he holds after he has completed his shuffle. If you fall to do so, remember the bottom card of YOUR deck, and trade decks with him.

At this point you ask the spectator to follow your moves closely and precisely, repeating them after you. The deck is fanned in the left hand with faces toward you and a card is selected. This card is withdrawn and placed on top of the fan which is closed immediately. Unknown to the audience, however, the card which you selected and placed on top was the duplicate of the card which you glimpsed on the bottom of his deck. We shall refer to this card as the key card.

The decks are given a single cut said exchanged. Actually you execute a false cut, but since he is concerned with cutting his own deck the move will not be detected. Personally I prefer to use an old gambling cut that is made as follows; the deck is held horizontally "in the left hand, backs to audience as shown in the illustration. The thumb is on top and the fingers below. The right hand draws the lower half of the deck to the right, and with a slight upward flourish it slaps the half on the table. The hand then returns to take the remaining half and place it on the cards on the table. The left hand never moves. Correctly executed the false cut actually looks more genuine than a true cut made with the same motions!

After the decks are exchanged they are agalm fanned in the left hand, and again the selected cards are withdrawn and placed on top. What you really do is this. You first locate the key card. The card immediately beneath It will be the spectator's card. Square these two cards together and remove them as a single card, placing them on top of the fan.

When the fans are closed and the decks are placed on the table, they will be prepared as follows. On top of your deck is your selected card and beneath It is his selected card. On top of his deck is his chosen card and beneath it is your card!

Each of you now slide your card from the deok to the table. Pause a moment and tell your audience that you are going to teach them the way in which magicians find a chosen card. Explain that it is onl^ necessary to glance at the top

card of your deck and it will be a duplicate of the card selected by the spectator. Turn over your top card and then the spectator's card to show that they are identical. Now ask him to try the trick on you. He turns over his top card and you smile and say, "By George — you'Ve got it I" Then turn over your card to prove it.

This double coincidence will be quite a surprise to those who have seen the simpler forms of the trick. Naturally you caution him not to tell others how the trick was accomplished.

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