Paul Vigil - The Doors of Deception.pdf

PAUL VIG VIGIL

By Paul Vigil  E-boo  E-books ks

Di pl pl o p i a ICON

Sy m pa pa t

h y  (f o r  t h e  De v i l

) Ca r d s

H. C. E.  Effect  Effectss

Pr i me me  Cu t La d y  Bu g  Books  Books

Cl a s s i c  Fa n t a s t i c Th e  Do o r s o f  De c e p t i o n

the DOORS o f  DEC EPT ION IO N

D a r k   A r t s  P r e s s

This book is dedicated to the memory of my dear friends and fellow magicians, Ja s o n  Sc o t t , R a n d y  Ma l c o l m, and To m  Mu l l i c a .

Each of you left the party way too early. What I wouldnt give to sit across a table from you and, just one more time, share some thoughts,  perhaps a technique, or simply a few lau ghs. You were indispensable,  brought me enjoyment beyond measure, and, ultimately, made my own life worth living. And then ... (poof!) ...you were gone. Copyright © 2017 by Paul Vigil. All rights reserved. With the exception of short quotations for the purpose of review, no part of this book, text, or  photographs, may be photocopied, reproduced in any form or by any means, stored in a retrieval system, electronic or otherwise, without the prior written permission of the publisher. No part of this book may be photocopied, transmitted in any form or by any means, electronic or otherwise, without prior permission of the publisher. Broadcast performance rights for the routines herein (including, but not limited to, internet, television, video, or by any other medium known or to be invented), as well as conflicting live  performance rights, are reserved by the author. Only written consent from the author authorizes  permission for any broadcast performance. performance. First published in the United States of America by Dark Arts Press First Edition 135798642 Edited by Jared Kopf & John Lovick Photographs by Jared Kopf & JefF Corn Proofread by Carol Singleton, Tim Trono, Jason England, and John Wilson Author photograph by Taylor Wong Designed by Jared Kopf 

I really miss you guys.

If the doors of perception were cleansed every thing would appear to man as it is, Infinite. For man has closed himself up, till he sees all things thro" narrow chinks of his cavern. m Bl a k e —Wi l l i aam

When the doors of deception are cleansed everything appears to us as it truly is, Mysterious. For we’re opening ourselves up, now sensing the numinous through wide gaps of our pattern. —P aul  Vigil

C ONTENTS Foreword 

Xlll

Introduction

XV

Pr e p a r e

t o  En t e r  

1

Paraphernalia

3

Main Deck Setup

5

Pocket Management

7

Th r o u g h

t h e  Do o r s

9

Opening

11

Determined Choice

13

Free Will of Order 

27

3-Card Monte

41

Thou Shalt Not Steal

71

The Mind-Melding Magician!

87

The Phantom Returns

103

Copper/Brass/Silver 

121

Fair Game

141

The Unexpected Wild Card 

159

The Octopus Deck 

197

Sympathy (for the Devil) Cards

227

Closing

245

Acknowledgments

247

fo rewor rewor d I first met Paul Vigil on a trip I took to Las Vegas with some friends in 2011. This

trip was for my bachelor party so, of course， we headed to Sin City to see

magie shows. Derek DelGaudio, Jason England, and Derek Hughes brought me to a little place called King Ink at the Mirage Hotel and Casino. Paul had  been doing a regular show there for a number of years and I had been hearing about it from those in the know for some time. The first thing I remember about Paul was the warm, relaxed smile he gave me. He seemed quiet, but he had a confidence in his eyes. He was getting ready to go on, and in the room scattered amongst the laity were a handful of really heavy hitters. I looked up and Johnny Thompson walked in the door. Paul noticed him too and greeted him with the same warm smile he had given me just a few moments before, and I could tell that, for Paul, this was just another day at the office. Man, I couldn’t wait to see this guy work， and he did not disappoint! From the moment he took the stage, this quiet and unassuming man owned that room. He blended classic magic with mentalism in a way that left the audience awed and beaten. He quickly became not only one of my favorite magicians to watch  but also a close and trusted friend. You can imagine how flattered I was when Paul asked me to write this foreword. For magicians who already know who Paul Vigil is, this foreword isnt really necessary. In fact, Ггп betting they dove right into the good stuff and skipped this part altogether. If you have ever been lucky enough to see Paul work, then you already know how devastatingly strong his magic is. If you havent had the  pleasure, let me tell you that what you are holding in your hands is more than a book of mere tricks. One of my favorite things about watching Paul perform is how strong he can make the magic moment seem. Even a simple trick is like a miracle when he performs it. Written as a complete act, this book is a great way to see how Pauls mind works while putting effects together and presenting

xiii

them for real-world audiences. However, you could take any one effect from these pages and put it into your act knowing you have a well thought-out piece of magic that has been tested time and again. All of the effects here have been honed to extract every bit of wonder for your audiences. I dont want to steal from you the joy of discovering them for yourself, but some of my favorites are Free Will of Order   (I always carry this in my wallet) and Thou Shalt Not Steal  (which will soon have its permanent place in my wallet, too). Some of these effects are things that Paul had already shared with me, and have since been part of my working repertoire. Others were completely new to me, and in reading them I felt a type of excitement I rarely feel with a magie release these days. Often people are too eager to put untested works on the market. Гт happy to tell you that this is not one of those offerings. I urge you to start on page one and read. Even if there is an effect that you dont think would fit your act, the nuances and subtleties that Paul adds are well worth your attention. Herein lies the real work ...

INTRODUC TIO ION N Hi. Back again. Its been a minute, huh? ... A long minute.

Mike Pisciotta Hollywood, California April 2017

In fact, I think a few years have passed since Classic Fantastic  came out. Ever since the last copy sold, IVe been back to my ordinary routine: playing and traveling, reading and thinking, shaping and refining magic effects in front of reflective surfaces and the eyes of scrutinizing audiences from Las Vegas to Shanghai. Youll find some of the results here in another collection of mysteries, all ironed out and wrinkle-free. IVe worked on these effects for the last several years—some for a couple of decades. Over time theyve morphed from mere tricks into some really great “pieces of strange,” as Paul Harris would say. As usual, some dear friends and colleagues have also helped move things along.* Someone would give me a touch on this here, another would have a line for that there, and soon these pieces began to resonate in new ways— casting their spells farther for me and more deeply for my audiences than ever. This collection of effects will focus on the performance of close-up magic. My goal is always to exhibit enigmas that appear агеаГ 5  or at least free of fraud. Of course, I know that they re not, but that s the beauty and allure for me—to show the art in artifice and artificial. I move forward, always wondering just how far up the mountain we can  push this. We reach the pinnacle when everything we claim and perform looks and feels genuine and is, therefore, believable. If we can achieve this, how can we dare to claim what we do isnt real? * By reading this you are now a part of the tale, too. Where will you take these effects?,  I wonder. Where will they take you?...

xiv

XV

Th e  Do o r s

o f  De c e p t i o n

While these effects can be performed in isolation, as you 11 see, IVe written them the way I do them, performed in one continuous show with each leading to the next. This way I can discuss techniques rarely exposed in magic texts— especially those that stretch across routines—and offer thoughts on audience control,

recommendations

for

prop

management,

ways

of

incorporating

variety, the introduction of packet effects, ideas on choreography, placement, transitions, switches, etc., stressing how their underlying concepts blend together, creating a beguiling, cohesive, and plausible whole. On the printed page, the show I describe may read a bit formal, yet I actually imagine a more laid-back, seemingly impromptu performance. Picture this: only a few people are watching at the beginning, so we start off slowly; later, more people, enticed by the groups reactions, gravitate toward the center of the experience. This is its own kind of magic, of course. The act of  performance casts a wider net: the tangled web we weave, when we practice to deceive*— 

PREPAR ARE TO ENT NTER

Enough! IVe already said too much. Why ruin all the surprises?

Chance favors only the prepared mind. Paul Vigil Las Vegas, Nevada April 2017

* Sir Walter Scott, “Marmion” （ 1808).

xvi

—Louis P a s t e u r

PAR PARAPHERNAL NALIA To perform the entire set described in this book you will need the following items, which are listed here in order of appearance:

• A key-ring charm with
A metal business-card case with “You will choose the phone” engraved on its lid 

• A pen with K You will choose the watch55 engraved into its barrel* • Some business cards • A regular pen • Eight rubber bands, four red and four blue, or four thick and four thin • A set of gaffed three-card monte cards; I use a custom set that incorporates both black Twos (Clubs and Spades) and a red Ace (Diamonds), but other sets, such as Michael Skinners ''Ultimate Three-Card Monte,” Bob Farmer’s “The Bammo Monte Monster,” or even

c
Bammo Monte Monster Reloaded,55  will also work

nicely

* Alternatively, instead of these engraved items, you can use an ordinary pen, a watch, and a coin (perhaps the half dollar if you plan to do ^Copper/Brass/Silver 5); see tcFree Will of Order.55

Th e  Do o r s o f  De c e p t i o n

• A gaffed bill (the construction of which is described later; I use a twenty, but any denomination from a five to a hundred will work) and a non-gafFed dollar—carried in your wallet amid regular money • A pack of cards with one odd-backed card; a few cards in this deck will require short corners and some marked backs • A 3-inch safety pin • A square, cotton handkerchief  • The gaffed coin from a Copper, Brass

& 

Silver set, along with a

matching, non-gafFed silver coin* • A Wristwatch (optional, if you are wearing a jacket) • Eight or so matching duplicates (e.g., all Nines of Spades)

MAIN MAIN DECK DECK SETUP Many different combinations of the required cards could be fashioned to

• A partial Wild Card set and two matching non-gaffed cards (e.g.,

accommodate the following show, but for consistency, the explanation will

four Nine of Spades/Queen of Hearts double-faced cards and two

stick to the following design (although you may have to find slightly different

regular Queens of Hearts)

arrangements for what you have available).

• The Octopus Deck: this is a gaffed deck (whose construction will  be covered later) made from 49 cards, 24 of which are doubleenders, 12 that make up a pump portion, and 12 random cards, along with an Ace of Spades for a cover card  • A normal deck stacked for “Sympathy (for the Devil) Devil) Cards” •

Two empty, wine glasses (these can be borrowed) that will accommodate small packets of playing cards

• A cell phone From the top down: • Three of Spades • Queen of Hearts: outer right and inner left corners shortened and marked 

The non-gaflFed copper and brass coins are not used.

T h e  D o o r s

o f   D e c e p t i o n

• 37 random cards* with the three gaffed monte cards dispersed among them, oriented in accordance with the bottom pointer card  • Ten of Spades: non-index corners shortened 

POC KETMANA MANAG GEMENT • Jack of Spades • Queen of Spades • Five of Hearts • Eight of Clubs • Five of Diamonds • King of Spades Spades • Eight of Hearts • Ace of Spades • Eight of Diamonds • Nine of Spades: outer left and inner right corners marked  marked 

Both side jacket pockets have a divider in them made out of a piece of thin cardboard or plastic. These have been trimmed to match the contours inside and reach to approximately one inch from the pocket s top (making it easy, and invisible, for the fingers to negotiate toward either side when reaching in). IVe cut mine from various materials, including postcards, file folders, and x-ray  paper; in a pinch, IVe even used my cell phone to create a partition. Significantly, while the pockets here are quite full, all the accoutrements in the jacket and trousers (a few decks, extra cards, and a few coins) lay pretty flat; this way, the clothing should never look too bulged. In fact, apart from the  packs in the outside pockets, few of the props placed in the jacket have any weight or bulk at all. The pockets are loaded as follows: • Left jacket pocket: the Wild Card set on the outside of the divider; and on the inner side, the decks three non-gafFed cards that match the three-card monte gaffs • Right jacket pocket: the non-gafFed duplicate cards on the inside of the divider; and on the outer side, the Copper, Brass

Sc  Silver

gafF

and its matching silver coin (fastened together with a binder clip) as well as the boxed Octopus Deck  •

Left inside breast pocket: the business card case and pens (one clipped on each side of the pocket to keep them differentiated)

• Three of Spades: odd-backed; matches the top card; one-way  pointer indicating proper orient ation of the monte cards

•

Right inside breast pocket: a few business cards, with one accommodating the prediction for

ccFree

Will of Order 5  and the

Main Deck, loaded with the gaffed three-card monte cards and set up for “The Mind-Melding Magician!” as well as “Fair Game”

Sometimes 38, if I include both Jokers.

6

Th e  Do o r s

o f  De c e p t i o n

• Outside breast pocket: the cotton handkerchief with the safety pin fastened to a corner  • Left front trouser pocket: your wallet with the gaffed gaffed bill and the normal dollar for the transposition set inside amongst your legit money* •

•

Left rear trouser pocket: pocket: this pocket needs to be empty to accommodate the second deck switch Right rear trouser pocket: a stacked stacked ''Sympathy (for the Devil) Cards， Cards， ， deck wrapped wrapped in rubber bands bands (i.e.， (i.e.， red or thick bands bands on one end and blue or thin bands on the other) with its Ace of Spades on the face to match the Octopus Deck 

• Right front trouser pocket: pocket: your cell phone

THROUGH UGH THE DOO DOORS A narrative is like a room on whose walls a number of false doors have been painted; while within the narrative, we have many apparent choices of exit, but when the author leads us to one particular door, we know it is the right one because it opens. — J o hn  Updike

* I prefer a thin wallet carried in a front (safer) pocket, and IVe routined accordingly. Fd say put it in your back pocket, but youll be out of luck there, as those pockets will be used for a deck switch.

OPENING The scene begins. Maybe youre out having drinks with a few friends. Perhaps its a house  party. Everyone is relaxing, having a good time, and then the big question finally comes: Can you show us some magick  Or maybe youve been hired for a cocktail hour. There are a few dozen  people. Tables scattered on the floor with a bar at one end. This means youll  probably have to be the first to engage them:  Hi,  Hi, you you look look fun. fun.My name name is ______ performer er I   _________ _____  __  , and т a perform want to show you something youll find interesting. What*s your  name? Come close, Aaron. Check this out.

 No matter what, we re off to Neverland.... To start, some easy magic. Nothing too hard here in the beginning; no sleights or anything fancy. First gear. Just feeling out our crowd. Something fun to get them involved that wont be giving away too much.  Not yet anyway. But its coming. And then, there will be no mercy.

A very disarming, honest, and simple introduction that gives you a huge amount of latitude in terms of what you can ask of somebody. This is originally from my friend and wonderfiil mind reader, Paul Brook; my first acquaintance with this ploy and the quote above, however, comes from Anthony Jacquin, The Trilby Connection (2010).

A moment or two of serious selfscrutiny, and you might observe that you no more decide the next thought you think than the next thought I write. —Sam Ha r r

is

deter mined c ho ic e Unknown

Abbott 

magician borrows several random objects from the onlookers and asks one person to help him perform an experiment in influence. After a series of choices, one object remains. The magician then shows undeniable proof that his participant has done exactly as anticipated.

The

This is an update to the paradigmatic

£Cthree-outs5 

prediction and was inspired

 by my friend and confidant Bill Abbott s aMind Control,which is itself based on the classic dealer item aHypnotic Choice.55 Almost every magician has purchased this effect at one time or another, more often than not when they began their magical journey, and for good reason: it is a great piece that requires minimal effort, and it also has the advantage of feeling spontaneous and impromptu. What follows is a simplified handling of a routine that I first published as “Chance, Choice, and Fate.”卞  This gives us something easy but hard-hitting to  perform in the beginning. It blasts us gently off the launching pad by putting two of the oldest principles in magic—Equivoque (or Magicians Choice) and Multiple Outs—to good use. This allows us to warm up and simultaneously set up the overarching theme of the entire act, i.e., that it is entirely possible to control people s thoughts, decisions, and even their physical actions.^ *

* Bill Abbott, HMind Contr 〇 r 5  (2004); see also  Bill Abbott,  Mental24/7 and Bill Abbott, K Mind Control Re:Imagined,,s Menta t Paul Vigil, ££Chance, Choice, and Fate,M


Control Remastered M  (2007)

.

(February 2010).

+ Years ago I adopted this performance concept from my good friend and mentor Rick Maue [see  MindVentio ention Notes Notes Rick Maue, wGroup Dynamic>,> The Road   (2010), p. 8; see also  Rick Maue,  MindV (2006)]. I believe this approach has broader range and believability than the standard magician, hypnotist, or mind-reader fare ... at least for me.

Th e  Do o r s o f  De c e p t i o n De t e r m in in e d  C  Ch o i c e Me t h o d & Pr e s en en t a t i o n

. . . s u c h as a wallet, wallet, or a ring. ring. Can Can we use use your watch watch? ?  Do you like choice choices? s? Of cours coursee you do; we all do. What do you think about the possibility of sending a thought to someone  you’ve  you’ve never never met, met, influe influenci ncing ng his or her though thoughts ts decis decision ions, s, or  even physical actions? As far as you know that shouldn’t even be  possib  possible. le.

Perhaps a cell phone. Really, any objects will do. A handful. We can use six.

The gathered objects must include a watch and a cell phone to match the engraved predictions on the pen and case, which remain pocketed for now.

 As a magici magician, an, I know know that that not not all of the decisi decisions ons we make make are are our own—especially when we think we have a completely free choice.

т

not talking talking about the choice choice between chocolate and 

vanilla, or whether a coin will land heads or tails; but a real choice, among lots of different things. Think of how much advertising sways our wants and desires.

 Let me invite invite you to try an experi experimen ment. t. What’s What’syour your name? name?  Hi, Aaron, Aaron, Im Paul. Paul.

 т

not sure if this will work out, but but imagine we have a bunch

of objects here, and I asked you to name any one of them.  Althou  Although gh you believ believee you have have a free free choice choice it turns turns out out that  that   you follow followed ed exactl exactlyy the mental mental direct direction ion^^ I was sendin sending g you. you. That would be fantastic, right?  I thin thinkk we we can can do it, Aaron. Aaron.

At this point you should have the interest of a handful of people at the  party without having made a big, formal announcement. Once youre ready to

First, First, 11 need to borrow borrow some some s t u f f . . .

start, ask that everyone gather around the table of objects for a demonstration in the powers of suggestion.*

As an example, remove your keys and place them on the table.

Place all the objects in a row with the force objects to one side. This will be fine. Let's put them here in a row. Second, Im going to concentrate on sending one of these objects to you, Aaron. I wont say out loud which one Im going to concentrate on, either.

* Bill Abbott, “Mind Control Remastered”（ 2007).

14

15

Th e  Do o r s o f  De c e p t i o n

De t e r m in in e d  C  Ch o i c e

 And third, third, you re going going to make make a simple simple,, but import importan ant) t)

E quivoque

choice; whatever happens, however, I want it to feel right~~I  want it to be your decision, so that whatever your mind desires

We will eliminate five of these because we need only one—the

will be the ultimate outcome.

one that I am sending to you. Look over the row and get a sense  Here  Here we have have a row row of random random objects. objects. There There is no way I could  could 

about what may make you more attracted to one object than

have known that out of the dozens of different things we could 

another. Perhaps the light is hitting some in a certain way that 

have used, these these would be the ones in play. Indeed， whenever I 

makes them appear brighter from where you’re sitting. Take a

do this, the objects are always different.

moment to contemplate the appeal of each of these objects.  Right  Right

 I am concen concentr trati ating ng on one of these these~-f ~-focu ocusin sing g on it, sendin sending g it to

noWy

there are a multitude of factors that could affect you

one way or another. I think it would be fair to say that it would 

 you,  you, subtly subtly weavin weaving g my words words and action actions， s， withou withoutt eve everr once once saying which one it is.

be impossible for me to know what you may or may not do next, right?*

 т

sure you’ve heard heard that most of the communication communication we do is

 Anythi  Anything ng is possib possible. le.

based on non-verbal cuing. The results can look like psychic  power  power..

 Aaron,  Aaron,you’r you’ree abou aboutt to to make make an import importan antt dete determ rmina inatio tion. n. Think of an imaginary line—to make this easier, half and half 

So, with that said, and keeping an open mind, let's see how well

 —to start start a proc process ess of elimin eliminati ation. on.

 I can “psych “psychica ically lly” ” send send one one of these these object objectss across across to you. you. I don’t  don’t  want you to think I just got lucky with this, either. We will have  proof  proof,, I promi promise se.. I know know that that doesn doesn’t ’t make make much much sense sense now, now, but  it will in a moment—engraved and indelible proof about one

Run your index finger down the middle of the objects, signifying an invisible line dividing them into two halves.

object I am sending to you, and the one I believe that you II  Concentrate on what I am trying to send you; try your best to

intuitively receive from me without our exchanging a single uttered word about it.

 pick  pick up on the though thought. t. Some Some of you may be able able to pick pick up on this, too.

 Let me concen concentra trate. te. Im sendin sending g a thoug thought ht to your your mind.. mind.. Pleas Pleasee close your eyes and concentrate, too: Just allow the mental seed   I’ve  I’ve plante planted d to sprout sprout over over the next next few momen moments. ts. It might might feel feel weird...

〇ur wording for “a process of elimination” is intentionally ambiguous  because the participants first decision will be interpreted based on whether he  points to the force side of the row or the non-force side.

 Look  Look at me and focus. focus. Now, Now, hold hold up your your “magi “magicc finger finger.’ .’’、 ’、 I  That didn’t hurt, did it?

want you to relax; take a deep breath. It is your determination. determination.  I know know your your mom told you ifs rude rude and and to never never do it, but she’s she’s

 No,  No, of of cour course se not. not.

not here, is she?

■

This is the magical moment, so give it its deserved gravitas.

16

See Phil

Goldstein, Verbal Control  (1976, 1996).

t Docc Hilford ， “E’Voque”（ 2005).

17

Th e  Do o r s o f  De c e p t i o n

Good. Reach out and point to either side.

If the non-force side is indicated, gesture t oward these objects and begin to  push them aside as you say:

De t e r m in in e d  C  Ch o i c e

Check out the keys —   — they’re they’re shiny. People, like birds and  raccoons, are attracted to shiny things. Or, you may be more attracted to the phone. I also know that people love to talk. We started the demonstration with a bunch of random objects.

 As I said said this this is a proces processs of elimi eliminat nation ion.. You’v You’vee decide decided d what  what  we get rid of, Aaron, and   y for whatever reason, it's those.

On the other hand， if the force side is indicated， gesture toward these these items as you say:

You could have kept all of the others, but you decided to keep these, and you put them into a specific order. You’re happy here? You can change them around if you want; as I said, you will make all the decisions. But whatever you decide upon next will be your final answer.

You’ve made

your decision

and through whatever invisible

attraction, have chosen to keep these.

 I want want eve everyb rybody ody to watch watch carefu carefully lly;; you re about about to make make the key decision. Now they all might not make the same decision as  you,  you, and that’s that’s becaus becausee they’r they’ree not in my sights sights,, but you are. are. Do

Mu l t ipl e Out s Well, now you know how the game works. I dont want you to accuse me of not playing fairly.

Referring to the force objects, continue:  I shoul should d have have let you do this this before before;; it really really doesn doesn’t ’t matte matter, r, but 

 youhave have a final final object object in mind? mind? Wait, I said Fd give you a chance to change your mind. . . but  only if you want to.

Remove the business-card case.  Ready?  Ready?

arrange tjjese three into any order you want.  By the way, way, so far you’ve you’ve intuit intuited ed correc correctly tly.. If you had had made made the opposite decision, Fd already be out of luck; luckily, the one Im

Take a business card out and place it on top of the lids engraving; alternatively, you can simply turn the case over to hide the message. Bring out the pen with the engraved prediction.

hoping for is still in the running. Commit yourself, Aaron. Whichever one you re thinking of now,

Once the participant has finished arranging the remaining obj ects, say:  Now for the momen momentt of truth; truth; this this is the most most import important  ant  decision you re going to make. You can see these objects are all different. They re different sizes, different shapes, they re made of  different materials. Ponder each of them before you decide on

write it here.

Draw a line across the middle to signify where he is supposed to write and then hand him both the card and case together, giving him a hard surface to write on while he records his decision. As the participant begins to write, turn your back, apparently so that you dont see what hes writing, and explain:

one, and then I will give you a chance, and only one chance, to change your mind.

18

/ wont peek.

19

Th e  Do o r s

o f  De c e p t i o n

Although you should listen as closely as possible to discern whats being written.*

De t e r

m in in e d  C  Ch o i c e

Yes, you did write down “watch.” You could have chosen the keySy the phoney the cufflink, the tin of mints . . . but you chose the watch. Do you feel like that was a free choice?

You have committed yourself to one of these objects. You re already amazing, but if you get this right, you will have the  power  power to do the impos impossib sible. le. This This will will last last for at least least four four or five five

The interesting thing is that the watch was the exact object I  wanted you to choose. Thank you! Thank you very much!

months. Indeed, Indeed, if you choose the right one， one， the power you will acquire will be unlike anything you’ve ever felt. If you get this right, just watch what you’re going to be able to do) It will be tremendous...

You think

т

kidding^ but but it's true. true. Ive been been focusing focusing on the

watch the entire time. It would have been too obvious to concentrate on the keys; after all, they’re mine. Do you remember I told you about proof, Aaron?

 Are youfinish finished, ed, Aaron? Aaron?  you’ree not not going going to believ believee this. this. Please Please,, could could you read  read  Welly  you’r

Before you turn around, take an educated (or wild) guess at what you  believe he has written:

aloud, in a clear voice, what Fve had engraved on that pen  youve  youve been been hold holding ing this this whole whole time? time?

 Did youwrite, write, “  _____________  _   “ ____________

If you re lucky, you ve made a direct hit. If not, you can easily cover this up

That’s right: “You will choose the watchr   Incre  Incredib dible! le!

 by replying: Phone

Good, because then Fd be one hundred percent wrong. Please tell everyone out loud—what did you finally decide upon?

The phone is handled similarly to the watch; only in this case retake the pen and then ask him for the card, as if to double-check it. Wa t c h

You could have chosen the keys, the watch, the cufflinky the tin Yes! Perfect. May I see that?

of mints, but you chose the phone. Do you feel like that was a  free  free choi choice? ce?

He shows that he s written the word watch  on the business card above your line. Take the card and the business-card case together so he is left with just the

The interesting thing is that the phone was the exact object I 

 pen, which has the correct prediction.

wanted you to choose. Thank you! Thank you very much! That’s right Aaron) this whole time I>ve been focusing focusing on the  phone.  phone. It would would have have been been too obviou obviouss to concen concentra trate te on the keys; after all, they’re mine.

* Another tip that can easily be incorporated here is to turn away slowly so that you can quickly see Bill Abbott, Mind  Mind Contr Control Remas Remastere tered  d  (2007).  pencil read the written selection; see  (2007). 卞   Adapted from Jimmy Grippo’s patter to Orson Welles during “The Stop Trick” on the Merv

Griffin show, which aired May 17, 1978.

20

 I want want you to know know exactl exactlyy how how I do this: this: the person person I focus focus on always chooses the phone. Oh, you don’t believe me?

21

Th e  Do o r s o f  De c e p t i o n

 I can see see that that you’re you’re a more more refine refined d audien audience ce than than most; most; you

De t e r m in  Ch o i c e in e d  C

 Rememb  Remember er when when I said said I hadp hadproo roofi fi

require more substantial evidence. Do you remember I told you about proofi

Well I do. Every time I do this for people, I borrow different  objects so that there is always only one object that stays constant.

You’re not going to believe believe this. Please, Aa Aaron， ron， could you read in

Will you please pick up my keys and, in a loud, clear voice, read 

a loud, clear voice what Ive had engraved on that case youve

aloud what is engraved on my charm there?

been holding this whole time? “You will choose my keys!” Yes! “You will choose the phone!”  Isn’t  Isn’t it wonde wonderfu rful? l?

K eys eys Push the keys toward the participant and say:

 No matter the outcome, always end on a grac ious note, with a twinkle in your eye: Thank you for taking part in this little experiment. By the way,

This is the the choice choice you mean? mean? Not t h i s . . .

Push the phone away.

do you know why you picked the _______  __________  ___  ?  Now the rest rest of you might might have have had a differ different ent choice choice in mind, mind, but you werent in my sights.

.. . or that that? ? You were, Aaron, and because you were in my sights~~and 

Push the watch aside as well.

anyone I put in my sights will always do the same — that's that's why  you choose choose the ______  ________  __ !

The keys. Perfect! Do you know why? Because that’s exactly what   I was thinki thinking ng of,too! too! Than Thankk you yout  thank you, thank you!

 And now that you have have this this power power,, Aaron, Aaron, I sincer sincerely ely hope hope you’ll you’ll use it for good rather than evil. The people you encounter over 

Gather everything from him—the pen, the case, and the card——and say:

the next four or five months will thank you as I thank you now. Thank you very much!

 May I see? see? Yep> Yep> sur suree enou enough: gh: “Keys “Keys.” .”

т

not sure if anyone was was watching very carefully carefully or not, but 

could the owner of these keys please raise their hand?*

Af t e r t h o u g h t s The slightly more elaborate version of this effect that I published some years ago included some fun, but in retrospect unnecessary, features. For example, I

Obviously no one will, but pause for dramatic effect as if you are expecting someone to raise a hand at any moment.

suggested giving the participant a bill, which he then placed to indicate his choices. First, by placing it on one side of my imaginary line, then second, by  placing it next to the chose n object to signify his final deci sion. This bill was folded into quarters, which allowed it to serve as a progressive

 Mental al 2417  * This is another excellent bit from Bill Abbott, aMind Control Re:Imagined,5,  Ment (2013).

revelation: one message was hidden by the quarter fold; another (written along

23

Th e  Do o r s

o f  De c e p t i o n

the back of the bill) was hidden by the half fold. Three bills were prepared this way, one for each of the possible objects. This, however, meant that the bill in  play from the beginning (a wild guess) sometimes needed needed to be switched. The message format allowed for a nod toward the other objects and then a return to the participants final choice, e.g., unfolding once would reveal,
There is another nefarious purpose IVe used this effect for in the past. I have found this routine to be the perfect precursor to an effect that relies on the Center Tear. Center Tear effects become procedurally heavy when you have to over explain the particulars—“write particulars—“write here， fold this, now we’ll tear it up ” The process is more easily grasped if you have already primed the participant with the writing choreography featured in the routine above. Here’s how it works. Run through “Determined Choice， Choice， ” which covers the idea that the participant is picking up on a thought that youre sending to him. Afterward, tell him youll switch roles by having him now write anything  down on another business card, and that you will attempt to pick up on something he s concentrating on. Pull out another business card and place it on the back of the case (bearing in mind that if anything other than the phone was chosen in the previous  phase, you will not want to inadvertently show whats engraved there) and draw another line on it, just as in ''Determined Choice/5  Then, just before handing the case and card to the participant, fold the card into quarters and unfold it, adding the creases for the participant so that fie will later fold it in the manner required for your Center Tear (i.e., in half, then in half again). Have him write down something he can picture in his mind: anything he can imagine. Once hes finished, take the business-card case from him and  place it back into your jacket pocket. Tell him t o fol d hi s card along t he creases; then, take it from him and attempt to psychically ascertain what it he has written (perhaps by holding it to your forehead, which is one of the great, classic mentalist poses). Do not attempt a peek, however; this action is only a feint. After a moment of pretended difficulty, say:

24

De t e r

/

m in in e d  C  Ch o i c e

dont seem to be picking up anything from here. You know,

there are two ways to convey written information: one is to write out the word—just as you did before with the phone —  — P-H-O-N-E; the other way, which I work better with, is to have someone draw a picture, or maybe a design or doodle. What did you just do?

Of course, he has written it out, letter by letter. Why wouldnt he? And, as you can see, you’ve already explained—before his reply—that drawings often  produce better results in this experiment than words. Therefore, when he informs us that he has written the word, you can proceed with the Center Tear rather naturally. This is something that you can picture in your mind, though, right?

As you ask him, rip the folded card and execute your favorite Center Tear.  Note, however, because of the upcoming choreography, you do not need to  peek during the tearing action, even if your preferred method allows for a mid tear peek. Simply lock eyes with your participant and rip up the billet, stealing the center section into your left hand; with your right hand, ditch the torn  pieces openly but nonchalantly in your right pants pocket. Once again, remove the business-card case from your pocket and use it to cover the piece of card hidden in your left hand. Open the case and remove another card, saying:  Let me try that that again. again. Dont Dont change change your your mind. mind. This This time, time, though， just draw a little pictu picture re or doodle of whatever whatever it is you  just  just jott jotted ed down， down， andlet me see see ifif the the image image will will help help,, okay okay? ?  Just  Just dra draw w itit here here.. I wont wont peek. peek.

To help give you shade for the upcoming glimpse, you can split the audiences attention by saying:  If the rest of you want to see what he>s drawing drawing,, that’s that’s fine with me. Just, please, nobody say anything. I dont want any help. In  fact,  fact, 11 keep keep my my back back turned turneduntil until you’r you’ree fini finishe shed. d.

While your back is turned, you are afforded a wonderful opportunity to secretly peek the word on the center piece, which, of course, corresponds with

25

Th e  Do o r s

o f  De c e p t i o n

Kid, Tve flown from one side of this galaxy to the other, and I’ve seen a lot of strange stuff, but I’ve never seen anything to make me believe that there’s one all-powerful Force controlling everything. 'Cause no mystical energy field controls my destiny. It ;s all a lot of simple tricks and nonsense.

what he is now drawing. Once youVe been afforded a glimpse, its easy enough to hold the case over the secret piece and, while keeping the writing hidden, take both to the left inner jacket pocket and ditch everything there. Once hes finished, have him fold this new card up. Handle it as openly as you can or dont bother taking it from him at all; just have him hold it in his cupped hands and see what can be divined by merely bringing your hands around his. In this case, dont forget to remind him that you never touched his

—Han  So l o

drawing: Now blow all of their minds by telling the participant exactly what he is concentrating on. We5ll leave this now, getting back to our regularly scheduled program, but keep in mind that this little addition with the Center Tear could also be inserted into our set anywhere  ahead; it could even be the closer in lieu of what I suggest later, but ГП leave that up to you.

FREEWILL OF ORDER Corbuzier  ♦ Richar  Richards ds ♦ Fingers  The mag magici ician an shows shows one one of his busin business ess card cards, s, which ch contain tains s a deta detailed iled writ writte ten n prediction of what the participant will do next. He introduces three objects and turns his back to the participant, who then appears to make some random decisions regarding the three items. Upon reading the business card, however, the participant and the audience realize everything that has transpired has been foretold or, more disturbingly, was controlled by the magician from the beginning.

For many years I almost exclusively opened with “Determined Choice， Choice， ’’ especially when I was performing close-up for small groups. Then later, at a convention in Las Vegas, I witnessed the wonderful magician and mentalist Jimmy Fingers perform his version of Deddy Corbuziers "Free Will,55  and I realized that my go-to, theme-establishing effect had just met its beautiful, evil cousin. Having bought Jimmys wFree Will of Order 55  as soon as I found out it was for sale, I then began using the routine occasionally in place of K Determined Choice.M  As Jimmy states, aThis is a pure miracle, regardless of where you  perform it. Stage, close-up， or parlor, this is bulletproof!”* I could see how both of these effects would express the same opening message, yet their methods couldnt be more divergent. Its something IVe strived for with many effects: having multiple methods for what appears to be the same composition. This can come in handy in strolling situations if people who have already seen you perform begin to follow you from one group to the next. And having multiple methods for the same basic effect is almost crucial if you have a regular show in the same venue.

* Cf. Cf. George Anderson, K Torn Center Deluxe,,> It Must Must Be  MindReading, (1949), p- 12. Ifyou  Be MindR already do the Ч огп center gag, try this and get yourself a real т1гас1е. т1гас1е.и

• Jimmy Fingers， Fingers， “Free Will Will of Order”（ Order”（ 2006)， 2006)， p. 2.

27 26

Th e  Do o r s

o f  De c e p t i o n

Conveniently, many of the same ideas and lines from the previous effect can  be used here， too (e.g.， “Do you like choices?”；  “influencing thoughts，decisions, and physical actions55; 'powers of suggestion5). The two-way out in a single prediction, which is Deddy Corbuziers stroke of genius, first came to the publics attention with his release “Free Will55 (2003). This item came across the desk of Paul Richards, who was quietly working behind the scenes, adding touches and tips for many of the marketed releases at Elmwood Magic. It was Paul who first took this principle away from its original application that used playing cards, changing it from U just another card trick’’* into something with wider application. He also gave it the title K Free Will/5 correctly realizing that this was not a prediction per se; really it was an effect of influence. Later, Jimmy watched a performer utilizing the routine and set to work on ironing out the wrinkles he saw. When he was finished, Jimmy had added his own brilliant ideas, the most astounding of which is the temporal/sequential dimension of his “prediction.” Jimmys final product is the completely impromptu {tFree Will of Order.55  In his words: K This is a hybrid version of the magicians choice, tweaked and polished in a way to make the weakest of the three possible outcomes the strongest ”卞 •

First, thank you to Mr. Corbuzier for giving Jimmy permission to release his version to the fraternity. Second, thank you to Mr. Fingers for contributing his specific handlings, insights, and touches. Third, thank you to Mr. Richards for also allowing the present entry, as well as for filling me in on his part of the tale. Finally, thank you to the current rights holder, Penguin Magic, for letting us share this printiple s power here, too.

Me t h o d & Pr e s en en t a t i o n

Fr

 Hi y  Adam }

т

e e  Wil l o f  Or d e r  

Paul. Do Do you require require glasses glasses to read? read? The only

reason I ask is Im going to have you verify a written statement  in a moment.  No,  No, excel xcelle lent nt!! Plea Please se join join me here here..

While the participant comes forward, remove the small stack of business cards from your right inside breast pocket and pretend to size this person up, searching for just the right card for what you are about to awiir 5  him to do. Feign reading one of the blank cards and give a little chuckle. Oh, this ones funny.

Most of the cards can actually just be blank, except for the one with the  prediction and another which has something ridiculous on it, such as £CMake him dance like a duck while he barks like a dog/5  Bring this gag card forward and ask an audience member to read it aloud. Should I?

While everyone laughs, look at the gentleman and back at the card; then give the gag the brush-ofF:  No,  No, not not that that.. Maybe aybe la te r. ..

Continue to sort through the cards for a bit, leaving the audience with the impression that there are many different things you could make this person do. As you get to the prediction card, say:

After asking your audience whether they feel their decisions are their own, single out a gentleman who seems firm in his convictions and say: Sir, do you believe that things in your life are predetermined, or  do you believe you have choices? You feel free, then? Great! What's your name?

 Ah>  Ah> this his one one will will do nice nicely ly..

Offer the spectator who read the previous card to check this one as well;  but ask that this time she do it silently to herself.  And  And you you can can veri verify fy that that what what Fve Fve writ writte ten n on this this card card is extremely specific and descriptive. In fact 11 let the rest of you know that what Fve written on this card is not only the exact 

* Personal communication (2017).

t Jimmy Fingers, “Free Will of" Order”（ 2006)， p. 3.

28

29

Th e  Do o r s

o f  De c e p t i o n

Fr e e  Wil

decisions this man is about to make, but the exact order in

l o f  Or d e r  

though т not chasing chasing or scrutinizing scrutinizing you in any . . even though

which he will take those actions.

manner.

The prediction reads as follows:

Vve already committed myself to what I want to happen, and  it’s on that card; it’s written in ink and cannot change. So, you

Free will has been taken!

said you believe in free will, and

I will be holding the coin

т

sure you you believe you have

the power to change things in your life. Most people are

，

you will be holding the watch,

conditioned to believe they re in control of what they do. Which

and, finally, the pen will be hidden.

is perfect, otherwise this wouldn’t be very impressive, would it?

Without letting the participant see what is written, take the prediction and  place it into the outer breast pocket of his jacket or shirt. Next, introduce the  props, displaying them on your outstretched palms.

You want to goad this person, regardless of his actual opinion, to admit he  believes in free will. As Jimmy notes, C£This is a small part of the revelation that  begins a trend of hitting on several aspects of the predictions.”* Three objects, and Im going to have you do this while my back 

 I have have thre threee obje objects cts here: here: a pen, pen, a watc watch, h, and and a coin. coin.

is turned. Now you may have already decided what you want to

I should mention that I use these three objects because they fit my  performance attire, but they really can be anything. Still, I think these are optimal choices for a couple of reasons: the coin and watch can be hidden in a  persons hand; the pen, however, cannot be as easily obscured. This means I have an object to steer the events, which will make better sense in a moment. Furthermore, the pen——despite being difficult to conceal in ones hand—still can easily fit in a trouser pocket. / Facing your participant, continue:

do, but wait until I turn around to finalize your choices, okay? Great. Look at me.

Smile at him.  Look  Look at my hands hands..

Just before you turn around, say:

 Adam,  Adam, heres heres what's what's going going to happen happen:: Im going going to offer offer these these three objects to you and what I want you to do is reach out and 

Three objects. Your decisions. Again: take any two you like, leaving me with just one.

take one object in each of your hands, leaving me with one. Do  youunders understan tands ds

,

Good.

Address the audience:  And I want want you you all to know know that that in in a. a. mom moment ent he will will have have a strong urge to run and hide ...

Turn to your participant and stare into his eyes.

30

• Jimmy Fingers, Fingers, “Free Will of Order”（ Order”（ 2006)， 2006)， p. 4.

31

Th e  Do o r s

o f  De c e p t i o n

Turn, and with the objects held behind your back, the participant takes two of them as instructed. Before turning forward, say:

Fr e e w i l l

o f  Or d e r  

lb. He places the watch behind his back. Bring the coin somewhat more to your front and, with your free hand,  point to his trouser pocket, saying:

 And those those decisi decisions ons were were your yours, s, Adam? Adam? No one told told you you what what to to do? do?

 And whate whatever ver is left, left, please please help help me me out out by hiding hiding it in your  your   pocket  pocket..

Of course not.

As you turn around to face him, there s a very high chance he5ll have hidden or will hide the objects hes taken from you by placing them behind his own  back. If so, t his i s a nice throwback to the lin e about his urge to wrun and hideM from you:

Proceed to the prediction by taking the card from his pocket and read it aloud yourself, allowing him a look over your shoulder to cVerify,5  whats written there. Interrupt your recitation of the prediction just before you read the final line, highlighting his last action: What was absolutely the final thing you just did?

See? I told you he was going to want to hide from me y didnt I?!

And in cases where the participant is not being so sneaky, just move along; no one will remember your earlier claim. After youVe turned around there is a rule you need to keep in mind. If the  participant leaves you with either the coin or the watch, you need to hold it in  position at your side, just somewhat behind you: it sort of lingers there in what

He will answer that he either put the pen behind his back (la) or into his  pocket (lb). No matter his answer, you will interpret either action as having occurred last or ''finally5  in chronological terms, and the pen as having become uhidden,  in spatial terms. (This is just one interpretation of some ambiguous language, as we shall see—another one of Jimmy Fingers5 brilliant additions.)

Jimmy calls the “no-man’s land” between behind-your-back and off-to-yourside. If the pen remains with you, however, 7 be sure to hold it all the way

Sc enario  2

 behind your bac^c， unquestionably “hidden” there until the revelation. The participant takes the pen and the coin, leaving the watch with you. Turn to face him and say:

Sc enar io  1 Please put either one of those objects behind your back.

The participant has taken the pen and the watch, leaving you with the coin. Turn back around to face him and say:  Next,  Next, take take eith either er one of those those object objectss and and put it behind behind your  your 

2a. He places the pen behind his back. Let the watch settle at your side; then bri ng it completely forward.

back.

2b. He places the coin behind his back. la. He places the pen behind his back. Bring the coin casually forward as you say:  And those those choice choicess felt felt perf perfect ectly ly free? free?

32

Casually bring the watch completely to the front, point to his trouser  pocket, and say:  And whatev whatever er is left, left, pleas pleasee hide hide it in your your pocket pocket..

33

Th e  Do o r s

Fr

o f  De c e p t i o n

e e  Wil l o f  Or d e r  

 Next  Next it says says,, “I “I will will be holdi holding ng the the coin coin,” ,” and and loo lookk at what what I 

Proceed to the prediction, which you have him read aloud, reminding him that you said he would “verify” what was written there. In this scenario you will downplay the “exact order” claim of the opening spiel and just concentrate on the objects and who is holding what.

have here: a coin!  It also also says, teYou will be holding the —W the —W h at does thatsay? say? It  sayst (
Sc enario  3

 And  And whatdo you you hav have, e, Adam? Adam?

The participant takes the coin and the watch, leaving you with the pen.

The watch } yes!

As you turn around to reface your participant, keep the pen hidden behind your back (not to your side in a ano-mans land ， 5  as explained in the former

u  And,  And, fina finall lly, y, the the pen pen

examples).

will ill be hidde hidden.” Plea Please se turn turn around aroundand 

show them.

Bring your free hand to the front and say: As you can see, once the prediction is read, there are aspects of it you can stress and cement further and others you can let slide altogether. For example:

 Now,  Now, just just plac placee eith either er oneof thos thosee objects ects back back in my hand. hand.

3a. He hands you the coin.

Thank you for doing exactly as I wanted!

Proceed to the prediction, taking it from his pocket and reading it aloud yourself.

or   Not  Not only the the acti action onss he’d he’d take take,, ladi ladies es and gent gentle leme men, n, but the the exact order in which he would do them!

3b. He hands you the watch. Proceed to the prediction and have him read it.

Of course, no matter how it ends, finish with:

 Notice here, if you find yourself facing this version of events, the ambiguous use of the word ''finally5  is simply referring to the sequence of clauses written on the card and not to the order of the actions (e.g. “Red, white, and, finally, bluew).* ，

 L could couldn’t n’t have have done done it with without out you. you. Agai Again, n, thank thank you you for  for  helping me out today. Let’s put our hands together for him!

Whether its you who reads the prediction or not, you should interject after each clause to bring home the fact of each successive hit:  Here  Here’s ’s the the firs firstt sent senten ence ce~~ Adam,  Adam, foll follow ow along along with with me and let  let  them know т

not changing a single word. “Free will has been

take taken， n， ” yes? yes?

* Jimmy Fingers, “Free Will Will of Order”（ 2006)， p. 6.

34

The easiest way IVe found to wrap my mind around the variables is to first remember this rule: Whoever is holding the coin will read the prediction. The other contingencies fall pretty easily into place after that is understood. I have noticed, though, there is one scenario that occasionally trips up students of this effect. They get confused when the participant takes the pen and another object and then puts the other object behind his back, leaving the pens final placement unfinished. The neophyte feels trapped, forgetting that the pen can still go into the persons pocket and become the cchidden, object.

35

Th e  Do o r s

Remember, our audiences have no idea where we are going. We should know this routines finite number of avenues perfectly so that we are always conveying, whatever happens, that things are going exactly as previously anticipated. So, dont forget to throw in: t£Please, hide whatever is left in your  pocket”一when its appropriate, of course. This is one of those effects that you really have to meditate on to understand how direct and easily achievable each outcome is. Its also an effect that youll probably mess up a few times, before each of the scenarios and the nuances of the script come into clearer focus. As its creator states: ''Practice and smoothness will make this equivoque even more effective and genuine."

Af t e r t h o u g h t s Unquestionably, this routine can withstand much more scrutiny than ''Determined Choice/5  In fact, I know through experience it is so deceptive that if you were to perform it a week later in front of the same crowd, crowd, уоиУ be  perfectly safe. Many ti mes we are performing for people we will probably never see again, so its not a problem. Other times, we have repeat customers or those we5d rather take down a different path. Furthermore, if the participant must read the card, I also like to prime him and clarify the prediction. The objects will be addressed by assessing the situation with “here” and “there” in place of the written prediction’s “Г and £youJ before

Fr e e  Wil

o f  De c e p t i o n

l o f  Or d e r  

Okay, good. Read the next line to yourself . . . And please continue. What does it say youll have there?

He says, wThe coin.55 Before he goes further, point to his hand and ask:  And what’ what’ss there? there?

“The coin,” he says. Yes! Keep going. It also says, here will be the —   — 

You're just bulldozing over what s written, but still having him confirm. .. ... wha t doe does itit say? ... “Watch.”  And look, look, I do have have the the watch! watch! It also also says saysthat that fina finally lly  —  Go ahead, read the end there out loud!

And he finishes with, ccFinally, the pen will be hidden/5

its actually read aloud. For example, in Scenarios 2a, 2b, and 3b: Turn around and show them! Let's give him a round of 

So, to make things clear, there is the coin, here is the watch and 

applause!

the pen has been hidden behind your back/in your pockety correct?

 As I said said,, not not only only the exact exact action actionss he’d he’d take take,, but but the exact  exact  order in which he would take those actions!

Well then, all I can say is you re not going to believe this, but   first  first let’s let’s look look at at what what I’ I’ve ve wr i t te n. .. .

Or, if he is reading the prediction, I will interject:  Adam,  Adam, readj readjus ustt the the first first line line out out loud. loud.

He reads, “Free will has been taken.”

Although IVe written these first two routines as complementary but different options for a strong opener, there is no reason that you cant begin with “Determined Choice,” reference reference it later in the set， and then perform “Free "Will of Order 55 by inserting it between any of the upcoming pieces, or vice versa. This would be a fine thing to do if new people start to hover around and is the perfect way to fill them in on what caused all the commotion to begin with. This is also

* Jimmy Fingers, Fingers, “Free Will of Order”（ Order”（ 2006)， 2006)， p. 7.

37

Th e  Do o r s o f  De c e p t i o n

the reason for carrying the extra pen. If you performed ''Determined Choice" earlier, and the watch was not selected, youll want to use the other pen if you decide to include aFree Will of Order 5 later in the set. I typically use the same props Jimmy does: a coin, a pen, and a watch. Yet, as mentioned, these props can be anything. I think this routine lends itself especially well to an after-dinner, impromptu piece utilizing a fork, knife, and spoon. IVe even worked on a Halloween-themed version by using a bowl of fun-size candies， with the prediction reading: “Free will has been been taken. I w出 have the Milky Way, you will have the Butterfinger, and finally, the razor blade (in the Snickers) will remain hidden.”* I will also stress that you should always  choose a man with a breast pocket, which is the best place to put the prediction in the beginning. This way, either of his hands can have easy access to retrieve the prediction (as he may have the  pen hidden behind his back, where you want that hand to remain for the sake of the climax); and you also dont want the prediction in any of his trouser  pockets (because the pen could end up there too, muddying the picture, as well). Also, by him taking the prediction out of his own pocket, it makes the outcome, if he has to read it, much more deceptive (and congruent) while also minimizing the chance of anyone discovering the modus operandi. Here s a horror story. I was up for an audition and started with this effect. I  brought a lovely woman forward to help. Blah, blah, blah . . . She takes the pen and the watch. We get to the point where shes asked to place one object  behind her back, and she puts the watch  behirld her back. Regardless, Ггп now at the point wftere I would tell her to “finally” put the pen in her pocket and . . . Гт trapped! Damn it! She was in a dress so tight she had to have been  poured into it. And—you guessed it_dresses like this dont have pockets. I was  painted into a corner. One small mistake and nowhere to escape! Ugh! Never again! Remember: use a man with a breast breast pocket， or you’ll， find out, as I did, that Murphys Law shows up exactly when they say it will. Not that theres a u best time55  to mess up, but if you get burnt when youre looking to light a fire in someones soul, it takes an extra long time for the ego to heal. These are the things nightmares are made of. This parallels why I recommend not   starting with a technically demanding piece. In the beginning, we are trying to get into the groove of the performance, and a fumble early on can cause what feels like

* This is especially effective if you both eat the safe ones first and then reveal the surprise by carefully opening the Snickers to expose every mothers nightmare within.

Fr e e  Wil l o f  Or d e r  

a never-ending game of catch-up. Better to start easy, warm up, and find your rhythm. Finally, one of the greatest compliments I think we can get from creators is their seal of approval after they see us perform one of their creations. One day Jimmy came to visit me while I was working at The Mirage, and he asked if Td mind performing it for some people; he would watch, perhaps even critique. I knew I had been presented presented with a great learning opportunity. opportunity. ГП never forget what happened after the prediction had been read. Jimmy looked at me in the way only Jimmy Fingers can look at a person. I was all nerves. Then he said, UI felt like I put this together for you/5  And my nervousness blossomed into a smile. Thank you, Mr. Fingers, for your kind words, and, again, for allowing me to share what I truly feel is one of greatest impromptu and spontaneous pieces of mentalism ever invented.

First Firs t and foremost, do not stop and play three-card monte. Ever. If you see one in progress, don't stop, don’t play—just don’t. Even if you can follow the moves and techniques, you cannot win. Walk away ... Danger! -Lee  As h e r

3-C ARD MONT MONTE or The Ultimate C atch atc h 33  Asher  ♦ Burton  Burton ♦ Cervon  De lan d♦ Taytelbaum ♦ Asher  magician proposes a game of three-card monte. Some people agree to play, but despite the uncanny fairness of the procedure, they lose every time.

The

Fortunately for us, the lineage of the gaff employed below has been

thoroughly researched and outlined by the Canadian lawyer-wizard, Bob Farmer.* It starts in 1908 when Theodore L. DeLand invented his three-card monte,

“Pickitout， ” which used two gaffed cards—an Ace with a false Three

index and a Three with a false Ace index. Later, a routine by Eddie Taytelbaum utilizing the same set of cards was published as aFind the Ace55 in  Dai Vernon Vernonss Ultim Ultimate ate Secret Secretss of Card Card Magic Magick  k   Michael Skinner subsequently-

marketed a similar routine featuring the most popular handling of the gaffs.^ My interest in three-card monte was re-ignited by my dear friend and CardStar, Lee Asher. HeJd been putting together an amazing routine in the trenches of UNLV. Along the way a mutual friend, Las Vegas magician Joey-

Burton, saw the way things often unfolded and added some psychologically devious moves， which came to be known in Asher’s “Catch 33” as the Kaiser Kaiser

Con and the Sosi Switch.5  These puckish ploys inspired the similar dodges used in this routine.

§Bob Farmer, “GafRis Maximus” lecture notes (Toronto, June 2014) ， pp. 1-2. Lewis Ganson, DaiVern Vernons onsUltima imate Secrets rets of Card Card Magic Magic (1967), pp. 167-71; see also Ken Brooke, “Chase the Ace”（ 1955). $ Michael Skinner， “Ultimate 3 Card Monte”（ 1990).

§ Lee Asher, <£Catch 3355 (2003, 2013), pp. 11-15 (their spellings, not mine).

Th e  Do o r s

o f  De c e p t i o n

As mentioned earlier, I actually use a custom set of the DeLand gaffs that consists of both black Twos and the Ace of Diamonds* for the money card. 1" I do believe it is better to have two mates and a money card of the opposite color; these are small details, but they make the effect clearer and more deceptive. Instead of having three things for our audience to process, there are only two.

3-Ca r d  Mo n t e

Me t h o d & Pr e s en en t a t i o n

If youVe just finished performing either of the previous routines,* put back everything of yours in its right place and, if necessary, return any items you ve  borrowed. Choice, influence, psychology: psychology: I look at these things like a game. Some of my favorite games make you think you cant lose, even though you actually can never win. They re not complicated. Some even seem to be simple—which is probably one of the main reasons they re so good at separating people from their hard-earned  cash. This is one of the simplest. It's been around for a couple of  centuries now, but it) still one of the best cons around.

Reach into your right inside breast pocket, bring out the pack, and remove the cards. Using the direction of the center pip of the bottom card, i.e., the Three of Spades, orient the deck accordingly. If youre wishing to adhere to the following setup as closely as possible but only have the Skinner cards, switch the non-gafFed Two of Clubs that comes with the set for a Three of Spades from another deck j The Farmer gaffs, on the other hand, can be swapped in without any substitutions.

Can I show you?

Spread through the deck 卞  out-jog the previously distributed (and, of course, properly oriented) monte cards, and strip them from the pack, being careful not to expose any of the false indices.1*1 Table the three cards fanned face down, Ace at the top and the non-gafFed card at the face, with the gaffed indices at the inner left corners. ,

Unlike most monte routines that merely demonstrate the con, usually with a first-person narrative (WI saw a guy in New Orleans whose uncles roommates cousin told me about a game his old pappy played once on a Mississippi riverboat riverboat .. •” )， th is one is actually actually played played in real-t real-time ime with a real “mark” “mark” making actual choices. One aspect of this construction, which is quite nice when practicing, is that after each phase the cards always end up in the same order; this makes it convenient to rehearse one phase over and over and then continue to the next without having to set anything up in between.

This II give you some knowledge you can walk away with and  use on somebody else else or, at least you’ll know what to watch watch out   for.  for.

Case the pack and place it into the right side jacket pocket, on the inside of the divider; the opposite side holds the Octopus Deck, and you dont want to

* See See Mike Rogers,  (1989). Devised by Rogers in the 1960s, this effect was the first to use this combination (specifically the Ace of Diamonds, Two of Clubs, and Two of Spades); see also Bob Farmer, £
ф However, you will then need to pick another card for the odd-backed, one-way indicator. Just about any one-way card will do, e.g., the Seven of Diamonds.

42

* Please notice that we have not   started with a card effect; while I love card magic as much as anyone, I believe you’re missing an opportunity to make a better first impression. t Of course, youll want to avoid exposing the odd-backed card on the face of the deck. $ Removing the gaffs from the pack like this is much better than introducing these cards from somewhere else; they should seem to be part of the deck and not something extra and suspicious that you carry in a plastic packet-trick wallet.

43

Th e  Do o r s

o f  De c e p t i o n

lose track of whats what and where s where. Furthermore, this will begin to establish a pattern that you often place things in your pockets. And later, when the right hand goes to retrieve the deck, the left hand can move simultaneously and switch in the non-gafFed mates from the left. If I seem to get ahead of

3-Ca r d  Mo n t e

Bring the faces down for a moment to take this next (top) card in your left hand and, as you did with the previous card, cover its sham, inner corner and now lift both cards, showing their faces, i.e., the Two of Spades in the left and the Two of Clubs in the right.

myself, thats the idea! A magician must always be steps ahead: thats how the miracles are made. Pick up the tabled cards and, keeping the faces down and the fake indices underneath toward you, place them into the left hand. For upcoming aid in using one card to scoop the others off the table, with your right fingers and thumb at the inner and outer ends, slightly push down on the cards, over the left first finger, to give them a minor and temporary bow.

These, the black cards, they re not so important ... ...

Lower the front edge of the card in the right hand and tap the back of the tabled “Ace,” emphasizing:  It’s  It’s the red Ace that that you’ you’ll ll want want to to foll follow. ow.

With the cards held in the right hand by the inner right corner, take the top

Place the Two of Clubs on top of the tabled

card in the left hand by its inner left corner, two fingers on the face and thumb

Spades' in the left hand to scoop up all three cards.

  Then

use the aTwo of

on the back, hiding the fake index. Hold the Ace^loft and openly display it.

P hase  1

This, the red Ace is the one they call the “money card  it’s the ”

only one you have to really watch and follow.

You will now run the cards, moving them singly, from the right hand to the left, three times, each time simply reversing their order. Holding the cards at

Lay it face down on the table. As the Ace is going to the table, you can

their right side, with the right fingers underneath and thumb at the top, use

 briefly lift and show the other two cards by pulling the upper card to the right

the left thumb to peel them slowly into the left hand. As you make the first of

with the thumb to keep its false index hidden behind the front card.

these runs, say:

44

45

Th e  Do o r s

o f  De c e p t i o n

Of course, after they throw them on the table, they get a chance to mix them up.

On the second run add:

3-Ca r d  Mo n t e

to the pack when you reset, you dont want them too disfigured.* If needed, you can add more work into the cards nonchalantly between phases, too. Pinching the cards at the outer end, with the right fingers on the face and thumb on the back, rotate the cards back and over, face up into the left hand. Use the left thumb to spread the packet from left to right.

 Andsome some of of them themdo it very very fast fast..

Here, as youre concluding this count (when two cards have moved to the left hand and one is still in the right) bring the cards back and forth together quickly but not really mixing them further; just use the actions to highlight the speech, and then finish by taking the last card. And, for the last run, again, suiting actions to words:  But Im not going going to do that that here. here. We are are friend friends, s, so Im going going to do it very, very slowly for you. If I start moving too fast, just let  me know, okay?

For those audience members who are scrutinizing the runs and have actually followed the “Ace” (realizing that it started in the middle and subsequently has remained there), false cut the cards to lose them as follows: With the cards square and face down in the left hand, bring the right hand over in end grip (to cover the front edge) and take just the top card, cutting it to the bottom. Continue this by following the previous procedure, but cutting two cards to the bottom, secretly bringing the cards to their former order. With the right hand from above, square the cards in the left and give them a soft, but prominent, downward bend along their length.

Per the usual monte procedure, these crimps will help you pick the cards up from above between the fingers and thumb.* As these cards will be reintroduced  This entire act can be accomplished sans mat.

46

For the sake of consistency, I suggest a similar procedure between each of the following phases. Specifically, as you set up each scenario, casually run the cards singly (but, unlike above, only once); then cut the top card to the bottom and back again; finish by turning the packet face-up from the outer end. Aim for an Erdnasian “uniformity of action” even when not doing moves， moves， per se卞 This is an approach I exploit flagrantly throughout these routines, as you 11 see. .

Display the cards (the Ace lowermost, the Two of Spades in the middle, and a Two of Clubs at the face) by holding them aloft in the left hand for those on that side of your audience to see. Maintaining the fan, take the cards into the right hand, fingers on the face and thumb on the back, and raise them to next exhibit the spread to those on the right side of the room (the pips will now be upside down).

* Bear in mind that the non-gafFed counterparts of these cards should also appear to have had these slight crimps in them, too, because they will appear later in the set after a switch. t Sec Sec S.W. Erdnase, The Expert at the Card Table (1902), p. 22.

47

Th e  Do o r s

o f  De c e p t i o n

3-Ca r d  Mo n t e What’s your name? You know where the Ace is; but once the cards are on the table,  Hi, Bill Bill it’s it’s a pleasu pleasure re to meet meet you; you; thanks thanks for watch watching ing.. To be as fair as I possibly can, Im going to proceed with just one hand. Let me know when you re ready. . . Okay, here we go.

the hustlers get to mix them. That’s usually when they lose you.

With the right hand take the leftmost card by its ends, second finger at the front, thumb at the rear.

The cards will be laid out one at a time, from your left to right, by bringing the fan face down to the table. First, let the top card (a supposed K Ace5>) slide off the others, tabling it to the left of center. Lift the remaining two cards to flash the Two of Clubs at the face and the Two of Spades behind it.

Place it flush onto the card on the far right, but jogged about a quarter of an inch to the left. Secure the lower card with the third finger and thumb. Lift  both cards and turn the hand palm up, showing t he aAce,J and Two of Clubs.

So you know right where the Ace is, right, Bill? And that's your  right, not mine.  / 

 Next, table the

£cTwo

of Spades5  letting it slide off the top, placing it to the

right of the previously tabled K Ace/5 т not movin moving g too fast, fast, am I?

Watch the Ace.

Turn the hand palm down and do a blatant monte hype move by letting go Lastly, maintaining the pattern and flow, lift to show the Two of Clubs and, finally, table it to the right of the other two cards.

48

of the “Ace” with the second finger and allowing it to come off the top and land in the rightmost spot.

49

Th e  Do o r s

o f  De c e p t i o n

Usually， this type of move is covert, but here you won’t be trying to fool the eye with the hype. Instead, youre throwing the card this way, not only t〇 conform to the well-known street version, but also to prime the audience f 〇r  some upcoming bluff switches. Once the top card is tabled, flash the card in your right hand again by briefly turning it palm up, showing a Two.  Not the Two. Two.

Turn the hand palm down and place the card in the open spot on the left. Got it?

3-Ca r d  Mo n t e

 Dont  Dont worr worryy abou aboutt the the Twos. Twos.

Keep the right hand moving from left to right and, as you finish the above actions, lift the rightmost card (fingers at the front, thumb at the rear) straight up a few inches, then drop it back to its spot as you say:  Just  Just make make sure sure you you dont dont los losee the the Ace. Ace.

 Next, trade the middle and left cards. Then swap the exterior cards. The cards are now back to the positions they started in. All of these moves are done slowly and deliberately because we actually do not  want the audience to lose track of the money card.

Move the right hand to the middle card and take it between the thumb and second finger.

Continuing with Bill, say: So, I think you know right where the Ace is, yes?

ГН often nod and openly gaze gaze at the leftmost selection. Good. Go ahead and just point to it, Bill.

Its best to ask just one person here where the selection is so that you dont have everyone yammering about its position.* Place it flush onto the card on the left, jogged about a quarter of an inch to the right, and secure the lower card between the third finger and thumb. Lift and turn the hand palm up, showing both of the cards as Twos.

K aiser a iser  Co n

Of course, your participant will point to the card on your left. Here s where you will utilize the calculating psychology of the Kaiser Con. Take the center card with the right hand, index finger at the outer end and thumb at the inner end, and move it above the one on your left—the card he’s certain is the иА се/ се/> So, Bill, if you had a hundred dollars...

'AJthough, if the audience is large enough, it can be fun to engage everyone by adding, K   Lets  Lets use use

Openly do the monte hype move again, letting the top card land to the left. Briefly flash the remaining card (the Two of Clubs) before placing it to the center as you say:

the 'Ask an Audience option. 11 call this one on your left One, this in the middle Two, and this last one Three. By a round of applause, how many think it's One?nlhis  should get very little to no response, and the same should happen with Two. The majority will applaud for Three. ''Well, Bill, do you want to listen to your friends, or not? M 

51

Th e  Do o r s

o f  De c e p t i o n

Here you will execute the most inept switch in the history of all card manipulation; the more brazen the better. To wit: with the previous card still in the right hand, take the leftmost card as well, but hold it between the right

3-Ca r d  Mo n t e

Of course, a dispute will ensue as theyVe all just seen you blatantly exchange the chosen card for another. Reiterate as if its a question, but youll actually be making a statement:

thumb and middle finger. Openly, and suspiciously, transpose the two cards, taking the one he s actually chosen away in your right hand/

You want this card right here(?).

Theyll respond that they want the one in your hand.  No,  No, you you want want that that one, one,Bill. Bill.

Lift the card in your left hand showing it as a “Two of Spades.”

Without exposing its face, transfer this card from the right hand to the left, taking it in position to cover the false index.

you, were were friends. friends. т only trying trying tohelp you. you. / told you,

Once its clear that the card in your left hand is not the money card, use the right hand to reveal the switched card. Place the middle finger at the outer end Bring the fingertips of the right hand to the back of the just-switched card and rub it in a small circle to clarify which one you re addressing.

and lift with the thumb; once the cards inner end rises, you can use the table as leverage on the front of the card to bring your thumb to the face and over the index. Turn it to reveal the “Ace.”

... you’d want this card， right here? here? This is basically an open, exaggerated, and ugly hype move.

52

With the card in the left hand face down, turn the right hands card and add it to the top.

53

Th e  Do o r s

o f  De c e p t i o n

3-Ca r d  Mo n t e

With the free right hand, reach for the last, tabled card and turn it in the same fashion as the wAcew with the thumb moving under and then over.

Bring the cards forward with the faces necktied toward you. Take the leftmost card (the K Ace5>) by its false index, pivot it out and forward, and place it face down onto the table.

Finally, turn it face down on top of all.  Don’t  Don’t feel feel bad bad about about that, that, BilL BilL I bet you lost lost track track of it when when I  mixed them; that’s usually when it happens. Anyway, I told you: there are some games you just cant win. Wanna play again?

P hase  2

Place this card a bit forward from where it will eventually end up, as you'11 later slide it back to its proper spot, aligned with the others. Bring the left hand back to take the two remaining cards, index finger on the front and thumb on the back (letting as much of the faces show as possible) and, for a moment, display the black cards to the spectators on your left.

Run the cards singly once. Cut the cards twice without disturbing the order (as  before, one card to the bottom then back to the top; reinforcing the longitudinal crimp isnt a bad idea, either). Finish by turning the packet face up, end for end, with the right thumb on the back and fingers on the face.  Let me explai explain n wher wheree you you missed missed it.

Spread the cards from left to right. Previously, you displayed the fan first on the left; this time, however, take the packet in the right hand (thumb on the

Turning the cards face down, keep the upper, left card in the left hand

face, fingers at the back) and hold them out briefly to the right, showing them

while taking the lower, right card in the right. Place each on either side of the

as the Ace of Diamonds, Two of Spades, and at the face, the Two of Clubs.

supposed uAce,J, but set back a bit.

54

55

Th e  Do o r s o f  De c e p t i o n 3-Ca r d  Mo n t e

 Hey  Hey diddl diddlee-di diddl ddlee } the Ace is in the middle. Okay, Slide the center card back so that the three cards line up in a row.

т

kidding, kidding, that's ridiculo ridiculous! us! Im just messing messing with with you. I 

didn't really even get a chance to mix them up yet. You know where it is. Subtly indicate the middle card.  Just  Just to make make sure sure,, go go ahe ahead ad andpoint point to it. it. Of course, your participant will indicate the middle card.

Sosi Sw i t c h Singling out a different spectator across from you, ask:

As duplicitous as the Kaiser Con was just a moment ago, you will now flip the script on everyone involved with the cunning Sosi Switch. Grip the card on the

What’s your name?

right between your right first finger and thumb in preparation to switch it as  before, only this time for the center selection.

 Hi,  Hi, Curt Curt.. Dont Dontblin blink. k. So, you want that one? Because the

aAce55 

is about to move from the center to the left, I like to

throw in the following bluff. With your left hand, lift the right card directly

Again, transpose the two cards with the least deceptive move possible.

up, and with the right hand, swipe underneath it as if to brush away some lint or dust; bring the card straight down and back to the same position. Repeat

 Right  Righthere here? ?

this with the middle card, lifting, wiping, and replacing. For the left card though, you will appear to do some “flxmiy business”：  lift this card with the left hand, but this time bring the right fingertips to the back

The action of the switch leaves you exaggeratedly pointing at and designating the card youVe just switched, which is now on the table.

of the center card and swipe it quickly to the left position and then immediately back to the middle. Finish by dropping the left card back to where it started. So, Curt, you know right where it is. Gesture to the card on your left.  And,  And, again again,, that' that'ss your right right,, not not mine mine.. ..* That one? * A playful variation of an English nursery rhyme published c. 1765, but which may actually date  back to the sixteenth century, this also incorporates a take on a slang term in military strategy for frontal assault, i.e” “Hey Diiile Diddle, Right Up the Middle.”

Take the card from the right hand into the left by the inner left corner, with the thumb on top and fingers underneath, covering the false index.

Th e  Do o r s

o f  De c e p t i o n

3-Ca r d  Mo n t e

Playing with his answer, say:

Turn the left hands card face down and use it to tap the remaining facedown card on the left.

Oh, so you saw me switch them this time? You weren’t exactly sure before, but this time you definitely saw me switch them?  I did did switch switch them; them; 11 admit admit that. that. Damn, Damn, youve youve caught caught me;so, which one do you want?

/ actually switched it for this one over here! Then, transfer the card, still face down, to the right hand. With the free left hand, lift the left card and display it as follows. Place your left thumb behind the inner end of the card. With your left first finger lift up

Here, sometimes playing it safe or sensing you re just fucking with him

on the cards front end, relying on the bridge in the card for purchase. Lever

now, he might change his mind, thinking hes a step ahead of you and go for

the card upward, using the point at which the left thumb and the table meet as

the card in your hand; either way, continue:

a fulcrum. As the money card pivots and comes into view, be sure to place the left middle and ring fingers at the inner left corner to cover the fraudulent index.

Yeah, I did switch it   y Curt.

Turn the face of the left hands card toward the audience, showing the Ace isn’t there.  But not forthis this one...

Gesture toward the switched, tabled card with the one youre holding and say: ... or this one.

/ 

i 

Place the card held in the right under the one held in the left hand.

Reach forward with the right hand and turn this card face up, in the same way you would one of the gaffed cards, i.e., using the thumb to cover the inner

With the right hand, take the tabled Two of Clubs and place it face down on top of all.

index. In this case, covering the index isnt necessary, of course; however, its worth doing for the sake of uniformity. Hold the Two of Clubs in this position  briefly then place it face up on the table.

P hase  3

•

First, straighten the cards, reversing their bends and bringing them back to a flat condition. Run the cards singly, reversing their order. Square up and finish this little mixing procedure by executing the double cut, bringing the top card to the  bottom and then back up again, as in the previous phases. Lastly, turn the  packet face up, outer end over inner end, i nto the left hand. Spread the fan from left to right, showing the Ace, the Two of Spades, then Two of Clubs at the face.

58

59

Th e  Do o r s

o f  De c e p t i o n

3-Ca r d  Mo n t e

There’s only one way I can think of making this easier. If fact, I  dont even know if I should do this.

Often someone will correct you with something like, t£ No, its on the  bottom.”

Then, in a rhetorical tone, say:

Pause. Then correct yourself: Well, it) not on the top right now, but if I turn them all

Should I do it? I don’t know if it’s ever really been done before. Should I?

Someone will usually say something. If no one does, just bluff as if y〇u've heard the answer you re looking for.

over ...

Suiting actions to words, square the cards, and then turn them face down from the outer end.  Now itson the top. top. Look Look,, 11 take take the the money money card  card  ...

Fine, I guess so.

As you say this, make it look as if youre taking the top card; actually take a

Single out someone new:

double.

 How  How are are you today? today?

... and move it to the bottom.

 I appr appreci eciate ate your your attent attention ion.. What What's 's your your nam name^ e^

After you move the double to the bottom, square the cards face down in the left hand and kick the entire packet slightly askew, positioning the false index

Well, thanks for being here, Derren. Let) try you. Wheres the  Ace,  Ace, then then? ?

at the inner left corner so that its covered by the base of the left thumb. Turn your hand palm down, showing the Ace.

At this point I like to encourage this persons correct answer by responding under my breath: Oh, my goodness! Yes, Derren. You’re doing great!

Ce r v o n  Fi n al al e

My surrogate brother, surgeon, and student of Bruce Cervon, Dr. AJpen Nacar, showed me an extremely fair handling of the final phase of Skinners ^Ultimate 3 Card Monte/5  which was taught to him by the late, great Mr. Cervon

See that, Derren?

himself. Bruce was one of our Arts most prolific thinkers, and its with great admiration toward both these men that I share his unpublished perspicacious contribution. So, you can see that it's on the top.

60

This is one of the most natural and open ways to display the gaffed card. Turn the hand palm up.  And I'll I'll take take this this one one...

61

Th e  Do o r s

o f  De c e p t i o n

3-Ca r d  Mo n t e

Pointing to the top card and, again, taking a double, move it to the bottom as you say: ... to the bottom.

Square the cards and, again, kick them slightly askew to hide the fake index as the hand turns palm down to show the bottom card as the Two of Spades.

In this orientation, place the card in your jackets outer breast pocket, leaving as much as possible poking out.* We II just use one Two ...

Take both cards at the right fingertips and use them and the left palm to let the lower card rotate over from right to left onto your open left palm.

You can see a Two at the bottom ...

Rotate your hand palm up and execute a double turnover, displaying the Two of Clubs. ... and a Two at the top.

Rotate the hand, showing the “Two of Spades” once more. As the card is pivoting face up onto the left palm, use the upper card as Of course, the Ace is trapped in the middle.

cover to keep the inner right corners false index hidden.

Roll your hand, bringing the Two of Clubs back into view; freeze for a second, and then say: Well, that’s kind of complicated. complicated. Look I’ll get rid of a Two.

Turn the double on the top face down. Take the top card into the right hand, between the first and second fingers. Keeping the face of this card hidden, use the thumb on the inner end and pivot it up so that the Ace index is downward. Ihc handkerchief for , should help stabilize the card here.

62

Th e  Do o r s

3-Ca r d  Mo n t e

o f  De c e p t i o n

... and the Ace.

Push the top card slightly to the right, bringing the opposite Ace index into view.

With just the left hand, square the two cards face to face. As the cards come together, curl your fingers around them at their right side, keeping this edge of the cards close to the base of the fingers.

Addressing Derren, say: Move the thumb underneath to help pivot the face-to-face cards up and over 180 degrees.

 I have have faith faith in you that that you you re probab probably ly going going to win this this time. time.

::So, where is it?

If they get this answer wrong, you know you should probably not stick around to perform any more magic for this group. In any case, once there’s a response, say slightly under your breath: Wonderful! Cant get one past you.

Place the two cards back into your left hand, square them, and repeat the As these actions are finishing, rotate the left hand at the wrist, turning the left hand palm down, and deliver the pair into the palm-up right hand.'

 paddle-move procedure above again, and then spread to show the Two of Spades once more, with the Ace now supposedly face down on top of it.  I’ve  I’ve star started ted you off with with the the easy easy ques questio tion n but they they get get harder harder..

Offering the two in your hand, say:  Is it face face up or face face dow down? n?

Great! So far, so good, Derren. Get ready, here comes the tough one. Can you point to it? *  This paddle-move-like action with cards is often attributed to Francis Carlyle; however, this sleights inventor appears to be Douglas Dexter: ^ Will Goldston, Great Magicians Tricks  (1931).

 p. 203.

Of course, he points to the upper card.

Th e  Do o r s

o f  De c e p t i o n

3-Ca r d  Mo n t e

That’s That’s exactly exactly what what I’d I’d say) say) b u t . . . 出

Snap your right fingers, signifying the magic moment.

Follow this by lifting them with the right hand, fingers on the face and umb on the back， displaying their faces to the audience. Be sure to keep the

gaffed index out of view by holdi ng the rear card up and to the right .

Rotate the left hand palm down, turning the slightly spread cards end for end and onto the right fingertips.

With the left hand, reach for the pocketed card and take it with the first finger on the back and thumb at the face over the false index. In a continuing action, leave the now-visible Two of Clubs behind in the right hand as your left hand takes the top card and turns it face up, rotating it end for end away from you and around the front edge of the Two of Clubs.  Notice how beautifully the false index automatically becomes hidden underneath the Two of Clubs.

Once the card is out of the pocket, pinch it temporarily between the first and second fingers. Next, use the thumb and rotate it around the middle finger (always keeping the false index hidden) to bring the money card into view.

You owe me ten dollars, Derren.

Pointing to the previous two players, say, .• .Whoa! .Whoa!

Take both cards, face up, with the left hand and rub them together (with the top card jogged inward and to the right), showing both sides and emphasizing their singularity. With your right hand, take the cards by their right sides and flop them face down into the left hand.

 And so do you, you, Bill Bill.. And And you, you, too, too, Curt! Curt!

To conclude, place the card in the left hand onto those in the right; the cards are now reset. Well, guys, I guess it*s a good thing we werent playing for  money!

67

Th e  Do o r s

o f  De c e p t i o n

 Af t er t hought s

3-Ca r d  Mo n t e

 bring the left hand out a split second later, with the matching normal cards from the pack.

So, what do you do if someone happens to pick the 'winner 5? Heres one of greatest “outs” of all time， courtesy of our friend， Lee Asher. The cards are on the table and youve told him to point to the winning card, and he does. Now what? As Erdnase wrote, c
Place everything onto the table. If youre segueing into the following effect, its quite easy to transition by next reaching for your wallet and introducing the bills for the ensuing routine, as you say: Speaking of money...

Good guess. Are you sure? I mean, real sure? Are you ready to lose some of that hard-earned cash? Want to bet on thisT 

Your participant will be thrown into a moment of misgiving as he begins to weigh the consequences of your offer to gamble. Then, just as he is about to conclude his judgment, you interrupt him with an easy way out. Indicate another gentleman who is watching the proceedings, and ask the participant:  How about playing with kis money?

He will give you a prompt, affirmative response: ccWith his money? Sure!M Quickly turn the money card over and proclaim:  Ah, mani You should have bet your own money! You would  have just won! If only you’d had/ the courage of your  convicAons...

As Lee writes, K If played right, this comical interaction gives the impression .”卞 the spectator still lost the round， even though he chose the right card 

For those following the big picture ... With the monte cards in the left hand, move both hands into their respective side jacket pockets. First, bring the right out with the just-pocketed  boxed deck (the Main Deck); and then, after ditching the gaffed monte cards, cards, *

* Lee Asher， “Catch 33” (2003, 2013)  p. 21. ，

 Ibid.

、

68

Stealing is not excusable if, for instance, you are in a museum, and you decide that a certain painting would look better in your house, and you simply grab the painting and take it there. But if you were very, very hungry, and you had no way of obtaining money, it would be excusable to grab the painting, take it to your house, and eat it. -Lemony  Snicket

THOU HOU SHALT SHALTNOT NO TSTEAL EAL or The Mona Lisa Money Tric ric k   Hample  Hample ♦ Grant  ♦  McAlliste ster  r  ♦ Corn  ♦ McAlli

To teach a lesson in larceny, the magician causes the one-dollar bill he's holding to transpose with the twenly-dollar bill a participant is holding tightly in her hand.

In 1995 I

was 

working at Showplace Magic in Salt Lake City, Utah, which I

realize now was like being paid to go to school. The shop wasn’t too busy and

Dec Pollard was an easygoing boss who encouraged the demonstrators to learn more all the time, and not simply read the instructions for the sake of a sales  pitch, I learned every trick that we carried, and read all of the books. And there,  Easy to Master Master Money Money after watching the second volume of Michael Ammar s  Easy  Miracl  Miracles, es, I   I encountered a truly amazing transposition of two bills."*" The effect I used to sell a bunch of VHS tapes that year, and the one I carried for years since, was the extremely clever “Be Switched” by George Hample of Philadelphia.^ [Years earlier Fd read through Tarbell,  where I became familiar with U.F. Grants seminal approach to the effect, K The Slow Motion Bill Transposition.55^ His method used an index of a banknote that was secretly affixed to a corner of a differing bill; the one thing I didnt like was folding the bills into eighths, as I

Klhe same was true for my later boss, Steve Simbeck, when he became the new owner; I am forever grateful. t Michael Ammar, Easy  Easy to Mast Master er Mone Moneyy Mir iracl acles., es., Vol. 2 (1995). t George Hample, "Be Switched" (1985).

p Harlan Tarbell, The Tarbell Course in Magie, Vol. 3. (1927), pp. 109-112.

Th e  Do o r s

o f  De c e p t i o n

Th o u  Sh a l t  No t  St e a l

felt it could easily be intuited by audiences that this made the bills small enough to be switched. Over time, I studied and enjoyed Eugene Burgers thoughts and approaches to this plot as well/ In this master s handling the extra piece is not glued on,  but is temporarily applied to another bill; its then stolen off at the end, leaving you (and the bills) 'clean.55  As good as this is, I noticed in my performances of Hamples method that no one ever asked to examine the gaffed bill. Over countless performances of the effect, I became more convinced that the picture in the spectators mind is psychologically complete. Years later, however, my good friend, and Grand Canyon resident magician, JefF Corn, had an idea that  became the final brush stroke for me.

Combined, these pieces form the flap, which is rubber-cemented to the third quadrant of the folded twenty.

Co r n 's  Gaf f 

JefF had seen the way I performed
Another important point is to simplify the folding and unfolding of the twenty by making a one-sixteenth-inch lip on the bill after it has been folded into quarters. Specifically, with the bill s face oriented toward you, fold it in half from right to left; then fold once more the other way, but dont fold this one perfectly even with the right edge of the bill.

This flap is comprised of a matching piece cut from another twenty and the rightmost, tails quadrant of a dollar bill, which are partially glued together.* * Eugene Burger & RT. Murphy, “Eugene’s La$t Dollar” （ 2003). “Ultimate Slow Slow Motion ВШ 卞  Roger Klause, “Ultimate

Transpositio Transposition” n”（ 1999).

$ It is not mandatory that you use a twenty. The routine will also work with a five, ten, fifty, or a hundred.

72

According to Eugene Burger, this effect is w〇ne of the greatest pieces of close-up magic. The magic is simple for audiences to follow and seems to happen in the participants hand.55* I wholeheartedly agree. Eugene Burger & P.T. Murphy, “Eugene’s La$t Dollar” （ 2003).

73

Th e  Do o r s

o f  De c e p t i o n

He also says, “For over thirty years I’ve been carrying a version.”* I can now claim this, too, and while there are many variants of this effect out there, I

Th o u  Sh a l t  No t  St e a l

 It)my pleasu pleasure re to make make your your acqu acquain aintan tance, ce, Elayna Elayna.. Her Heree y take this.

truly feel this one is the best. I plan to carry it as long as paper money is  printed.

Offer the one-dollar bill to the participant. Me t h o d & Pr e s en en t a t i o n

/ love these old-fashioned con games. Youd think, given how ancient they are, that people would learn and not fall for them anymore. Still, they keep going on. You know why? They all work on the same principle, really  . . . Greed! That, and  sometimes good will, but

11 tell you more about that in a

second.

 I don’t don’t reall reallyy play play the con anymo anymore. re. Sure, Sure, back back in colleg collegee I’d  deal poker games, pick a pocket here and there. Looking back at  it now, I’d be lying if I told you it wasn’t hilarious. The poor 

These days, almost everyone is familiar with the painting, the  Mona  Mona Lisa; Lisa; but do you know know why this this piece piece of art is so famous famous? ?

sheep never even felt the shears.

Hold the face-up gaffed bill with your left middle and ring fingers on the These days, I try to be more artistic with my skill. I try to do things that can be enjoyed by others, as well. I mean, I could 

 bottom center of the flap (at the middle) and the first finger and thumb on the left bottom edge of the flap.

steal your watch or lift your wallet, possibly take some money or  a credit card, but then you’d feel violated. I would laugh at you

Well, I'll get to that, but first things first. Check both sides.

in front of all these people y  and then u/e just wouldnt have as much fun.

Flash the front and back of the gaffed bill as she examines hers.

That's why well use my money.

Reach into your wallet and remove the gaffed twenty and a single from amongst your other cash, which is the most innocuous and natural way to introduce them. (Later, at the finish, weJll just put the money back into the left  jacket pocket on the monte side of the divider.)  And how how are are youtoday? today?

That’s nice to hear. And, please, wkafs your name?

* Eugene Burger, “Slow Motion Bill Transpo”（ 2015).

74

Watch what I do.

While continuing to hold the bill with the left hand, use the right hand to fold the bill over once from right to left.

75

Th e  Do o r s o f  De c e p t i o n

Keeping the flap flat, turn the left hand down and back again to flash both sides of the folded bill.

Th o u  Sh a l t  No t  St e a l

As the bill goes from parallel to the floor in the right hand to aloft and almost vertical in the left, secretly move the flap from one side to the other.

This entire action should look as if you merely moved the bill from hand to With the right hand, take the bill by the edg^ just past the outer fulcrum of the flap, with th^ thumb on the top, outer part of the bill and the first finger underneath. Fold it again, but this time from left to right.

hand. As the right hand frees up, gesture for the participants bill.  Let  Let me see see that that one.

Your left hand now holds the gaffed bill with the first finger and thumb at its lower left side, keeping the flap flush. Take her one-dollar bill with your right hand and bring it to the bill in the left. Orient her bill so that the similar  parts of both bills come together, all while your left fingers and thumb continue to hold their positions.

Once this second fold is completed, you 11 move the secret flap as you transfer the bill from the right hand to the left as follows. Use the inside of the right ring finger to disengage the flap and begin to rotate the bills inner end upward and away from you.

76

Th o u  Sh a l t  No t  St e a l

Th e  Do o r s o f  De c e p t i o n

Once the bills are aligned in the left hand, the packet can be shown all around because the flap is concealed benveen the bills. Point to her right hand.

Please close your hand.

As she closes her hand into a fist, take it gently and turn it palm down.

Please hold your hand out flat.

Demonstrate by opening your own hand out flat, palm up. Rotate the left hand palm down until the packet of bills is parallel with the floor. The left fingers will now show on top, as will the twenty. Place the pair of bills, one at a time, into her hand so that they lie across her palm. Specifically, separate them by pulling slightly inward with the fingertips and push outward with the thumb; then, set the bottom one-dollar  bill onto her right open palm and lift the gaff straight up and away.  I think think you’d you’d agree agree that that the the money money is safe safe in there there.. You probab probably ly dont trust anyone more than yourself to be holding them right  now. After ally they might lie to make me look good, but in this  posit  position ion youre youre actua actually lly a step step ahead ahead.. You You think think that that in your  your  hand those bills are as secure as the gold in Fort Knox. Yeah } well that’s the way the “establishment” “establishment” thinks too. I say we think about it outside the box. What are my chances, do you think, of getting the money out of there without you even knowing?...  A one one ...

With your left hand, hold the participants hand still. Do not inadvertently flash the other side of the bill youre still holding; just keep it parallel to the floor. To add a bit of misdirection, I sometimes reach

/ only need one of them to illustrate my point; so let me take one

forward with my right hand and turn the one-dollar bill over once in her hand.

out. Let me just reach in there. It doesnt matter which one.

.. .a nd a twent twenty, y, Elay Elayna. na.

Bring the gaffed bill down now and place it directly on top of the single in her hand.

78

Reach into her fist, with your right fingers underneath and thumb above, and remove the lower bill. This will be the gaffed twenty, which in this position will appear to be the one-dollar bill.

79

Th e  Do o r s

o f  De c e p t i o n

Th o u  Sh a l t  No t  St e a l

Well, look at that! Didnt I just tell you my goal was to get the

he ran into a problem: he was locked in. For some reason the

money out of there?

door wouldnt open! Can you believe it?

 Elay  Elayna, na, I even even said said,, 'without thout you even even know knowing ing'' to let let you you know I was about to trick you, didnt I? Place the bill into your open left hand, being sure not to expose the opposing side. Bring your third finger in slightly to make sure the flap isnt visible, either.

You know what he did? He removed the doorknob, but then, guess what. . . Even that didnt work! Finally }  as luck would have it, a guy just happens to come by — a plumber~and Peruggia innocently asks him if bed open the door. And he did! The rest is history. In and out. No guns. No hostages. No getaway car. No drama. As they say, sometimes you  just  just have have to ask.

 I'll  I'll admi admit, t, Elay Elayna, na, when when I aske asked d you you to open your your hand, hand, you you weren’t expecting that; so it’s kind of like cheating) but I flat out  began by telling telling you it was a con, right? You， like that plumber, plumber, became an unsuspecting accomplice without even knowing it.  How  How about about givin giving g me a chanc chancee to steal steal the the rest rest of the money money out  of your hand. And this time, seriously, without you even Proudly display the one-dollar bill youve just removed. You just fell for the oldest game in town. See how easy it is? As

knowing. Would that be good?  It woul would d be be impos impossi sibl ble! e!

they say, sometimes all you have to do is ask. Its human nature, so it’s'hardfor you to fight against it.

Let your left hand relax to the table with a loose grip around the one-dollar  bill there.

Keep your hand tight with the rest of the money right there,  Elay  Elayna; na; I dont dont want want you you to walk walk away away or even even take take that that twen twenty ty out of my sight. sight. П come back back to it in a second. second.  And  And that that,, my frie friends nds,, is how the the grea greate test st art art heis heistt in the the worl world  d 

That plumber had no idea of the ramifications when he opened  that door. Without Without even knowing knowing it〉 he became part of the story. story. What I〉 ve told you so far far is true. And now you you are part of this this story.

was accomplished when the Mona Lisa was stolen by Vincenzo Peruggia. Did you know that's one of the main reasons why it's

 Later, er, peo peopl plee aregoing to askif you you coul could rea reall llyy feel feel the the money money..

so famous? It's because y  as I was saying y  a little over a hundred 

Squeeze your hand. Tell them you can feel it.

 years  years ago it was was stol stolen en.. It’s It’s true true and craz crazy, y, this this guy just just walk walked  ed  out with it.

Good. Hold still, right there. You might feel a slight tingle — something a little like electricity ...

Well there’s a little more to it than that. Heres the story. Peruggia went to the Louvre y  took it off the wall, tucked it  under his coat> and went to walk out with her. And that’s when

80

To begin the transformation, rotate your left hand inward and palm down. Simultaneously, move your left first finger from the front (with the fingertip

81

Th e  Do o r s

o f  De c e p t i o n

near the К Г 5  index) to the back, which is now facing upward, so that the fingernail and knuckle are in contact with w2〇55 index.

Th o u  Sh a l t  No t  St e a l

Massage the bill, blow on it, etc.—anything for the magic moment. With the flap now oriented for the twenty to be shown, slowly allow more and more of the bill to be seen as the right hand moves away.

First, 11 show you something difficult; then 11 do the impossible.

Both hands will come together, and as this happens, a few things will take  place. The bill is clipped between the left index and middle fingers. Under cover of the right hand, begin to open the left fingers. The bill, which is clipped between the fingers, will extend away from the left palm, allowing the flap to open slightly.

Finally, take it by just the left bottom corner with the left fingers at the front and thumb at the back.  Look!  Look! Now Now I have have the the twenty twenty..

As you slowly unfold the transformed/transposed bill in your hands, tell her:  Elayna  Elayna,, dont dont move. move.

Deliberately show the bill, proving there is nothing hidden, extra, or odd.

Move the left thumb to the back of the bill onto the lower portion of the flap. With the right fingers covering the face, push up with your left thumb to rotate the bill forward, which also brings the flap flush against the lower half.

After freely showing the twenty all around, pl ace the bill into your l eft side  jacket pocket. That is the difficult part. It’s one thing if it happens in my hands. Of course, that’s not real magic; but open your hand.  Let’s  Let’s see. see. Look, Look, impos impossib sible! le!

As soon as she opens her hand, quickly snag the bill from her again.

83

Th e  Do o r s

o f  De c e p t i o n

Th o u  Sh a l t  No t  St e a l

 Ha!  Ha! I warned warnedyou Fd get it.

Af t e r t h o u g h t s

With all the heat on this bill now, keep it very much in the open.

IVe routined this presentation so that the magician winds up with the larger  No,  No, I want want you to do this this part. part. This This is the impos impossib sible. le. If I were were to do it, youd say that's when I did the sleight of hand; but  when it's in your own hands ...

denomination;* for everyday use, however, its best for the opposite to take  place. For example, if youre performing the effect for a cocktail waitress, its  better to have her end up with the larger bill so that she can just walk off  perplexed and use it to close your tab.

Hand the bill back to her. Go ahead, you open it. This is going to keep you up at night.  And that, my frien friends ds is why steali stealing ng isn’t isn’t so easy; easy; often often it’s it’s hard  hard  work, otherwise wed all be doing it*

Extending this humorous moment, point to your watch. See this watch?

Point to a nearby spectator.  It’s  It’s his! his!

After a quick fhuckle, continue:  I)m kiddin kidding. g. It’s It’s mine mine ... ... now. now. I actua actually lly got it from from some some other  other  guy. Do you still have your wallet? Nou/s the time to doublecheck.

If youre performing this on its own or in your own routine, you can place this bill away with the other; if, however, you re following the full act explained here, say:  Elaynd  Elayndyy go ahead ahead and hold hold onto onto that that for me or just just set it here. here.  Maybe  Maybe I’ll I’ll give give someon someonee a chance chance to win it later. later.

And (perhaps) we will. * Elfriede Jelinek, Greed (2000). eg-, David  David

84

 Brainfood  (1998), pp. 29-37. Parr, Brain

—Bo bby Seale

THE MINDMIND-MEL MELDING MAGIC MAG ICIA IAN! N! or Chicago Seven  Leech  Leec h ♦ Everh  Everhart  art  ♦ Malone  Malone After a less-than-convincing coincidence effect, the magician offers to repeat the demonstration. This time, a freely named selection turns out to be the only blue card in the red deck. The magician offers to do it a third time, and another card is fairly selected; it turns out, the blue card has changed to match this third selection.

For many years IVe started longer sets of card magic with some version of this effect. It serves well for a couple of reasons. One, the deck doesnt need to be examined or shuffled beforehand for the effect to register; its more about  people and their choices than it is about the cards. Two, it allows me to involve more than one person (in this case, seven people in total), creating an immediate atmosphere of inclusion and active participation.  I   The first published version of this effect was, of course,

C£Hot

Card Trick

lw 

 No. by'Al Leech.* This was later popularized by Frank Garcia when he  published Frank Everhart’s “Chicago Opener  卞  However, my introduction to this classic plot was in 1991 when I learned Michael Ammar s ccBluefield Debut.”* Over the years, IVe played with other versions, specifically those by •”

BThit Haydn^ and Michael Vincent.** More recently, IVe built upon a version  by my friend, Bill Malone.

*Al Leech, ccHot Trick No. Г 5 (1950).  Million on Dolla Dollarr Card Myste Mysteries ries (1972). t Frank Garcia, Milli

ft Michael Ammar, The Magic of Michael Ammar   BWhit Haydn,

uThe

Chicago

149-53.

Surprise,> (2000).

P Michael Vincent, The Classic Magic of Michael Vincent  (2009).  (2009).

87

Th e  Min d -Me l d i n g  Ma g i c i a n !

Th e  Do o r s o f  De c e p t i o n

The

version

explained

below

combines

the

streamlined

mechanical

Maue ’s  Pen

approach found in Malone’s “Mind Reading Magician!”* with the idea of first controlling someones actions and then doing the same with several peoples thoughts, turning this effect into a baffling multi-phase routine. Because much

What follows is a wonderful bit by one of my very favorite people in all of magic and mentalism, Rick Maue. Its a small but powerful sequence that can

of the structure is quite basic I’m mostly going to spend time on the

 be used in many other circumstances. In Ricks words,* heres what the

 presentational touches that e levate the tricks entertai nment value.

 performer does.

，

Me t h o d

 Before  Before we c on t in ue .. .

en t a t i o n & Pr e s en

Place an odd-backed card on the face of the pack and its matching card (the

Pause for a moment and then point to a gentleman in the audience.

Three of Spades, in our example) on the top. Case the deck, and youre ready to  begin. If youre following the big picture, the cards are boxed on the table and

l a m going to ask you you a question. question.

the ungafFed set of monte cards are nearby, too. Reach into your jacket pocket and remove a pen. Silently walking into the crowd, hand the pen to the gentleman that you pointed to a moment ago.

P hase 1: A P seudo -In t e r p r e t a t i o n

Return to your performing area and say:

Technically, this is a pseudo-phase—a developmental procedure thats used to

 Let me ask you, do you really really believ believee that that a guy guy could could stand stand up

establish the premise and insert some humor into the overall routine.

here, and without ever saying a single word, that guy could  actually control your thoughts, your decisions and possibly even

 Let me show show you someth something ingdiffer different ent.. Have Have you eve everr seen seen The The

 your  your physi physical cal action actions? s? I mean, mean, withou withoutt ever ever saying saying a singl singlee word?

Worlds Fastest Card Trick?  Have  Have you you ever ever even even heard heard of The World' World's Fast Fastes estt Car Card d Tric Trick? k?

The gentleman holding the pen shakes his head and responds, C£ No.w You continue:

Wow!

Then let me ask you another question. That pen that you are

Well by a round of applause, who would like to see The World’s Fastest Card Trick?

,

holding, did I ever ask you, or tell you, to take it from me?

The audience laughs as the gentleman laughingly responds, “No.” You reply:

 All right, right,let’s let’s do it!

/ didn't think so. Set the cased deck forward in the center of your performance area.

 Raw  (2008); see also  Rick Maue, The Road   (2010), pp. 56-7. Ricks text is excerpted * Rick Maue,  Raw (with minor formatting changes) from here until the following footnote.  Here I Go Again, gain, Vol. Bill Malone, Here  Vol. 2 (2007).

89 88

Th e  Min d -Me l d i n g  Ma g i c i a n !

Th e  Do o r s o f  De c e p t i o n

Walk back to the gentleman in the crowd and silently extend your hand.

 As soon as he names a card, emphatically declare:

The gentleman will place the pen on your palm. Take a couple of steps away, stop, and look at the pen in your hand. Then, silently look back at the gentleman once more, shaking your head—as if to ask, aDid I ask you, or tell

Yes, that's the same card I was thinking of! Whew! And that is The World's Fastest Card Trick. Thank you, Gerald.

you to give me the pen?55  Once again, the gentleman laughs, as does the rest of  No,  No, it really really was the one one I was was thinki thinking ng ofi too. too. You might might not 

the audience.

believe me, but that's some true psychic woo-woo youve just  witnessed. Some Some of you may think think that’s a freebie. freebie. Hey 11 take it!

 By the way, way, what's what'syour your name? name? Thanks for helping me, Frank.

P hase 2：  Co me  To g e t h e r

Return to the performing area and continue:

What if I was to do the same exact trick again? That would be good, huh? And this time you’ll know it isn’t a trick. This time

You see, that is what I do. In fact, it is what we all do every

И show you proof. proof. Sound Sound even betterthen?

single day. We all control the thoughts, decisions, and physical actions of others all the time. And we often do it without having

Great! Let’s get some more of you involved. If I do it again and 

to say a single word. However, I just happen to do it in a more

Fve only used one of you, the rest will think that we’re definitely

elaborate manner. Let me show you what I mean*

in cahoots. First,

11 have someone decide on the color, then

another will pick our suit, and, lastly, someone chooses the value.

Addressing someone you havent used yet:

Addressing a new participant, say:

 And your your name? name?

 Hi, Gerald. Gerald. Fd like like you to help help me. You dont dont need need to leave leave your  your 

 And your your name name? ?

seat or anything. Now that you know the name of the game, I  dont want you to accuse me of cheating. Do you know how

 Hi,  Hi, Hila Hilary. ry.

many cards are in that pack? 11 start with you. We havent set anything anything up, have tue? Fifty-two, not including the Jokers. And I want yo,u to think of  one of those cards right now. Im already thinking of one. I 

 No, of cours coursee not. not. I assur assuree everyo everyone ne here here that that nothin nothing g has been been

think you know where this is going.

set up ahead of time; nobody has been asked to write anything down or whisper something to anyone else. Everything that 

Push the monte cards off to the side of your working area and say:  By the way, way, not not one of these. these. When When you re ready, ready, Gerald Gerald,, name name

 you’r  you’ree abo about ut to see is happen happening ing right right here here and and right right now. now.

Remove the cards from the case and hold them face up in the left hand. With the aid of the right hand, bevel the deck to the right. Under cover of the

 your  your car card d out out loud. loud.

 beveled deck and the right hand, use the left fingers to push the bottom card * Many years ago, Rick gave me permission to include t his wonderful exchange in Choice,55 but in the context of this series of effects, I felt it fits better here.

HDeterm'

inward to the right.

91 90

Th e  Do o r s o f  De c e p t i o n

Th e  Min d -Me l d i n g  Ma g i c i a n !

Fifty-two different cards, divided into two colors, red and  black.

Ribbon spread the deck on the table from left to right, using the bevel

and

the side-jog to conceal the duplicate under the spread.*  If I aske asked d you you to name name one one of those those color colorss which which would would you say? say?  And,  And, befor beforee you answer answer,, Hilary Hilary,, I want want you to know know that that this this is not a trick question, and there is no ambiguity. Whatever color   youchoos choosee will will be the one we use. use. Pleas Please, e, red or black? black?

Draw attention to the card now showing at the face of this small packet:  It could could have have been been the Eight Eight of Spades Spades..

Once she s responded, I like to smile playfully and say:

Place the right-hand cards onto the selection and, as you set this packet

Perfect, and that didn’t hurt at all all did it?

onto the remaining spread, push the spread from right to left, slightly squaring the cards in the center of the table. Take another third of the left-hand packet

Have this participant point to someone in the room she does not know.

into the right hand, this time from the top, naming the card visible on the face.

Your name, please?  Hi,Irene. Irene.

Have this next person decide on a suit that corresponds with the previous choice of color. Once this person has announced the chosen suit, have her  point to another person, lets say Jack, whom you then have decide upon a value. Note: the card generated by their random choices can, of course, be one of the cards in our secret stock. This is the reason we ve placed the royal flush in ascending order and have the full house in a known arrangement, too. For now, lets assume the card they ve cobbled together is not among our set-up. Let s assume, for example, they ve generated the Four of Diamonds. In

Or the Six of Clubs.

Place these cards onto the tabled pile. Take the remaining cards with the right hand, place them on top of all, and name the card showing on the face.

that case, remove the Four of Diamonds from the spread and place it on the face, on top of the odd-backed card. You will want this selection to wind up centered in an upcoming ribbon spread. To do this, first scoop up half of the  pack from the far left, stopping somewhere near the center. Next, hold these cards semi-squared in the left hand and, from the bottom, take about a third into the right hand. * Charles Nyquist,

 Hugard's Magic Monthly  (August 1948), p. 453 (describing a production of a  but see  Jacob Daley,  Jacob Daley) Notebooks,

card from the so-called Ribbon Spread Hideout); transcribed

by

Frank

Csuri

(c.

1938,

1974)

entries

26

and

Hideout to Dai Vernon obscurely in entry 26 and o bviously in entry 80).

92

80

(attributing

the

Ribbon

Spread

 It even even coul could d have have been been the the King King of Hearts Hearts..

Th e  Do o r s o f  De c e p t i o n

The card theyVe generated is now centered in the pack with the odd-backed card below it.

Th e  Min d -Me l d i n g  Ma g i c i a n !

card (in preparation for an upcoming double lift) and square it with those in the left, forming a break underneath it. Move the right hand slightly back and,

 But no, no, tonigh tonightt youve youve all decide decided d on the Four Four of Diamo Diamonds nds.. Is

with the right fingers, take the odd-backed card out-jogged under the right-

there any way anyone could have known that? More specificallyy

hand spread and offer it to the person to your right. As this person moves to

is there any way I could have known?

accept the separated blue card, place it side-jogged back onto those cards held in the left, retaining the break.

Gather the cards and hold them face down in left-hand dealer s grip.  Before  Before I go any any furthe further, r, in the inter interest est of thoro thorough ughnes ness, s, and to Well,

т

two for two, just so you know. know. You didn’t believe believe me

before, but I told you Fd have proof this time.

With your right hand wave and beckon your audience to lean in.

close down any chance at an escape route, I’d be remiss if I  didn't remind remind you that it could have have been t h e . . .

Lift your right hand and flash the bottom card.

Come close. You dont want to miss this.

This is important because you will pull their attention in and then have a strong offbeat to help disguise the dirty work in a moment. Ribbon spread in a wide upside-down U-shape, revealing the odd-backed card in the middle. You re not going to believe it   y  but earlier I took one card—from a totally different pack~and I put it in here. Can you see mine? Theres one blue card.

If we were 4〇ing real magic wed   just pull the card from the spread right now and show it, but we can’t; so, again, we’ll “change the moment.”* With the audience now edged forward to see the action, we5ll take it away from them by quickly pushing the spread back together.  Ah> maybe we ought ought to just just forget forget about about i t . . . See that that Bears Bears game last week? Yeah. Hell of a game. Hell of a game. Bears got 

. . . Nine of Spades Spades..

Turn the right hand back down and place a third of the cards on the  bottom of the spread to the table. Or, it could have been the Six of Diamonds...

Lift and flash the new bottom card of the right hands spread, while simultaneously squaring the odd-backed card onto the selection in the left.

a great team this year. They re gonna go all the way. Yeah.^ No? Okay, seriously. How incredible would it be if all of our  thoughts did come together?

Pick up the cards and begin to spread them face down from left to right until the odd-backed card is showing. Push one more card past the odd-backed 

*

See S.W. Erdnase, The Expert at the Card Table (1902), p. 96.

t 6"^ John Hughes, writer/director, Planes,  Planes,

94

Trains & Automobiles Automobiles (1987).

95

Th e  Min d -Me l d i n g  Ma g i c i a n !

Th e  Do o r s o f  De c e p t i o n

Continue, as before, setting another third or so of your right hands cards

Phase 3：  Ouha uha  Left Fiel d

onto those just tabled. Push over the squared double in the left hand as you lift your right hand, showing the new bottom card there.

 Incr  Incredi edibl ble! e! Hone Honestl stly， y， I didn’ didn’tt even even know know if that that was was going going to work. There are some tough minds in this crowd. So> how about  we try it again for a third time? time? Now that that you know exactly exactly whats going on ...

Turn the double down. Deal the odd card to the outer right of the  performing area. Place all the cards in the left hand onto those tabled. Pick up the entire pack in overhand shuffle position and address the person farthest away. Can you see from all the way back there? Perhaps even the Ten of Diamonds.

Goody we all do our best.

Place the remaining cards in the right hand onto the other tabled cards. What you want to concentrate on in the above choreography is to shade the aligning of the odd card with the selection under the broader movements of the right hands cards as theyre displayed and then tabled. It should be as if the

 Hi thanks thanks for for being being here. here.

т

going going to use use you you this this time. time. You You

don’t need to come forward, though; just stay comfortable where  youare. are.

card was never squared on the left. In other words, they see it side-jogged, and then their attention is drawn to the actions of the right hand. By the time

As youre saying the lines above, casually overhand shuffle, running only a

theyve returned their attention to the odd card, it is still side-jogged. Basically

single card to the bottom and square up. Then, run another single card and

we want it to appear as if it hasnt moved.

square. This will put the upcoming force card (which matches our odd, tabled selection) into position at the bottom.

 But  But for for some some reas reason on we weve ve come come to this this one, one, rig right ht here. here.

Gesture with the now free right hand to the side-jogged (double) card held

Tabled Hindu Fo r c e

on top of the left packet. Turn over the double, letting it land square with those cards in the left to reveal:

With the deck tabled in riffle-shuffle position, you will now force the bottom card with a Hindu-type shuffle. This is usually done in the hands; here,

The Four of Diamonds!

Lift the entire pack aloft to display the card to the room and say: / couldnt have done it without you, and you, and you. As you say the above, signify each of the helpers.  Let’s  Let’s hear hear it forHilar Hilary, y, Irene Irene,, and and Jack. Jack. Give Give yours yourselv elves es a big big round of applause.

96

however, you 11 strip the cards with more of a regulation gambling feel. First, youll set it up by priming the audience to whats about to take place.  Im going going to mix mix car cards ds like like this this...

With the right fingers at the front and thumb at the back, lift the upper half of the deck (at the very least above the bottom thirteen cards, which is our stack) and begin a series of running cuts, using the left fingers to move a few cards off the top onto the bottom half. After moving a few cards, lift the right hand to show a random card at the face of its packet.

97

Th e  Min d -Me l d i n g  Ma g i c i a n !

Th e  Do o r s o f  De c e p t i o n

Bring the right-hand pack back parallel to the table and continue the action of pulling a few cards off the top in a stripping action; however, on the first

And to clean your tracks, show the top card of the tabled portion next, and add:

take, remove a few cards from the bottom; then continue by stripping from the top, as before. (This small action should not be registered.)

 It just just as well well could could have have been been this this one on the bottom bottom,, but you wanted the one on top. Can you remember this card?

... until you stay stop. Thank you.

Again, turn those cards in the right hand toward the audience, now showing a different card on the face. Finish by stripping off, with running cuts,

Place the right-hand cards onto those tabled.

all the cards that remain in the right hand.  Now, you 11 force the bottom card using the same stripping a ctions. Please say stop anytime.

Turn your head.

B,Bottom"  Here  Here then then.. Plea Please se rememb remember er this this one on the bottom bottom...

Turn over the top card of those tabled and briefly display it as you say:

 I won’ won’tt peek peek..

 It just just as well well could could have have been been this this one on the top, top, but but you wanted the one on the bottom. I’ll square everything up before I 

Do not rush. You will want to move cards sparingly off the top here if

turn around.

you re following the entire act. Remember, our stack is a substantial portion of the bottom half.

Point to another spectator and say:

To p o r  Bottom? When he says 'stop,55  finish running the cards and, before you lift the right-

You liked that blue thing, huh?

Yeah, me too. Let's try it again. Watch.

hand packet to show the bottom (force) card, say: Give the deck a very wide spread across the table. First show surprise that  I’ll  I’ll give give you one more more decisi decision on that that can can chang changee ever everyth ything ing;; say say top or bottom ...

there is no blue card; then begin to push the cards apart, as if cards may be stuck together and the blue card is hiding from you. One thing I ve found out from performing this numerous times is that if you were to ask the participant

Regardless of his answer, you will lift and show the bottom card of those

to name his selection now, there would be a very high probability that the

held in the right hand, relying on the ambiguity of the request to justify your interpretation of the action.

response will be something snarky, along the lines of, aYou tell me, magic

A."Top"

man.” Instead, say:  Ah, I rememb remember. er.

Gather the spread and look up at your audience.  Rememb  Remember er this this one, one, right right here here then then.. There’s something I almost forgot.

98

99

Th e  Do o r s o f  De c e p t i o n Th e  Min d -Me l d i n g  Ma g i c i a n !

Snap your fingers over the pack.

We have black, we have Spades y and, finally, well need a value. You know they start with Ace, then Two, Three, all the way up

Yes, that's it.

to King; but dont let me influence you with those; please choose one of your own.

 Nod and smile. Do another very wide ribbon spread a s before. This will easily move them toward something that will be more fun. Also, On e. . . blu blue. e. .  . . card.

you should note that it doesnt matter if the participant names one of the cards in the stack. Because the stack is in a known order, you can easily restore the

Begin to search for the selection again. Then, without looking up, say

：

sequence later. At this stage, however, we wont worry about getting the stack back in sequence or under control yet. Instead, we will play into what many in the

Please, what was the card you chose?

audience will often have on their minds after witnessing this effect: these must By doing it this way, IVe never had someone not name it.

 be trick cards.

Look up and restate:  I know know what what you re thinki thinking. ng. There There must must be someth something ing funny funny about these cards, right? right? Well there’s not. Go ahead~you ahead~you re a

One... blue... card.

gambling man. Let the rest of them know there is nothing wrong with them. Check them out front and back. They are just 

As your attention moves to the previously tabled odd-backed card, say:  No,  No, itit cou couldn ldntt be. be. I dont dont want want to to touc touch h it. it.

the way they come from the store.

Hand the deck to the gentleman.

Ask a spectator nearby:

While hes checking those out~~-just set them here when you re done~~ I’d like like to show show the rest rest of you the very very first first trick trick I ever  ever 

Please, can you turn it over and show it to the room?

Aftertho ftertho ughts

learned....

This will allow you to segue into the next effect; and because you are starting something new, the guy who’s “examining” the cards will likely just give the pack a cursory glance, without shuffling them (which, youve never

In phase 1, if the participant happens to name the Queen of Hearts, you know

asked him to do, though you will later). And even if he does shuffle them,

its second from the top, which means you can reach under and pull it out

you 11 only lose one effect here, which no one knows youve planned to do,

without revealing the duplicate card on top (which, you will remember, has

anyway. Regardless, your transitions from one routine to the next will be

 been side-jogged under the spread in the so-called Nyquist hideout).

seamless, as you will see.

If they choose
<£Spades,w you

could potentially face a slight

 predicament: you want to steer the audience away from the one-way card on the bottom of the deck (the Three of Spades). In this case, be ready to buffer the final decision with: • • Specifically, after you’ve performed “The Phantom Returns,” next you will transition into “Fair Game." Its in this forthcoming transitional moment that you will restore an

out-of-sequence card

from the secret stock.

100

101

Th e  Do o r s

o f  De c e p t i o n

Now, something peculiar is going on here.

This routine finishes with a transformation as opposed to a transposition, which is the way Malone handles it. I find its easier for my audiences to register a single change at the end rather than two. This also goes for effects such as “Dunbury Delusion,” “The Fingerprint Trick,” and more. Maybe one day ГИ change my mind, but I have yet to encounter a circumstance circumstance to make me think otherwise. Furthermore， I generally tend to avoid so-called “visual” changes. Effects Effects like this one become far more haunting, I believe, if you leave transformations in the periphery. If something changes right before your eyes, theres not much more to interpret later; if, however, you look at something, which never quite leaves your sight, and later you find its completely transmogrified, this leaves you with a lot to contemplate. I find this creates less of a 'gotcha!55 and more of

-Te r e n c e  Mc k e n n a

THE PHANT PHANTOM RETURNS

a “whoa!”

or Ripping the Fabric of of Spac pac e-T e- Time Unknown Kopf  The magician pierces a safety pin through the center of a handkerchief, which has been folded into quarters. After locking the pin and having the bundle examined, he appears to rip the pin through the multiple layers of fabric. He hands the closed pin to someone and begins to massage the cloth where it surely must be torn. When his healing hand finally moves away, the handkerchief is found to be completely unharmed. He unfolds the handkerchief once and fastens the pin to one end near  fhe edge. The wonderworker grabs the pin and gracefully slides it down to the other end, visually melting solid through solid. Finally, to allay any remaining skepticism, he completely unfolds the handkerchief. The safety pin is shown certainly attached to the material. Once more, however, the wizard pulls the pin through his handkerchief, leaving it inexplicably without scathe.*

In the third volume of Tarbells seminal course there is one of the most stunni stunning, ng, offbe offbeat at effec effects ts in all all of magie magie， ， “The “The Phanto Phantom m Safety Safety P i n . T h e magician fastens a standard safety pin to a handkerchief and then causes it to melt mysteriously and visually through the fabric from one point to another. The unattributed effect is bold and beautiful, but it fails to meet an old aesthetic concept. In his Poetics  Aristotle states that a 'whole is what has a  beginning and middle and end .”本 So many effects these days fall short of this •

•

The

related Mandell,

phrase to $C I

me

“without by

scathe”

John

Lovick,

comes

from

Beckett

die

wrote

great in

a

dramatist postcard

Samuel to

his

Beckett. friend,

In

an

anecdote

actor/director

Alan

have recovered from my illness, if not without scathe/*

t Harlan Tarbell, The Tarbell Course in Magic, Vol. 3. (1927), Lesson 36, pp. 79-81. I The three-act structure is comprised of the protasis, epitasis, and catastrophe, that is the setup, confrontation, and resolution.

103

Th e  Do o r s

Th e  Ph a n t o m  R e t u r n s

o f  De c e p t i o n

simple criterion. Many of the one-ofF effects featured on YouTube and other media are, at best, incomplete pieces, making one wonder whose attention span is shorter, the performers or the viewers? These “quickies” can only be considered among the branch of magic that’s interested in surprise. And I feel theres something amiss with this approach  because it will never be as strong as the style that plays with the audiences anticipation. Sure, surprise can be powerful (especially in the beginning of a  performance), but it cannot beat those moments when the lucky beholders can call on their own hopes, dreams, and expectations. Many years ago my best friend and Dallas magicman extraordinaire, Jared Kopf, shared an interesting variation of c  In his

the audience into a state where they are unable to leap to their next assumption. If we apply these notions to uThe Phantom Safely Pin,w  we have a three phase routine that is angle-proof, utilizes examinable props, and doesnt require a table. It s no wonder that this has become one of my favorite pocket effects. If vou put in the time to acquire the knack, Гш sure it will be one of your fevorites, too.

Metho d & Pr esentatio n

version the pin didnt melt from one spot in the cloth to another; instead, the  pin actually melted all the way through several layers of the folded handkerchief. I was completely fooled. He explained how it worked, and I was

You will require one 3-inch safety pin. This is a larger pin than the size called for in the Tarbell write-up, which suggests wa fairly large safety pin, say nvo inches in length/5* These pins have become harder to acquire over the years, but

floored again. Td been familiar with this method since I was a kid, but he had used it in a way that looked completely different. Even though the Tarbell trick was amazing, I had stayed away from it for the reasons IVe mentioned; but now I had the final piece of the puzzle.

finding the right one will be paramount to the success of this routine.

The routine explained below relies on the same basic method* for each of its three phases. However, the choreography disguises the modus operandi  perfectly. By progressively unfolding the cloth, you not only make the effect  presentationally clearer each time, you also achieve the Aristotelian aesthetic I advocate. Almost every effect I choose to do features the same thing happening multiple times (with slight variances for misdirection, of course). The Chop Cup “Matrix,” The Egg Bag “MacDonald’s Aces， Aces， ” Multiple Selection ... In ，

Some of the newer 3-inch pins available in fabric and hobby stores these days do not have the familiar clasp that we are accustomed to. These newer  pins are basically one piece of metal bent in the shape of a safety pin, and they  just dont have the same level of deception as the old, standard standard ones. Experimentation has shown that some of them will work, but if youre going to perform the routine, why go half way? Always find the right prop; youll thank yourself later.  Notice how the clasps on each of these three pins (although slightly different) retain approximately the same organic shape, with rounded inner edges. This is the kind of safety pin you re looking for.

，

each of these compositions something magical happens, which may be a surprise the first time, but then it happens again, and again, and sometimes, yet again. Each time, the procedure looks exactly the same as the previous  phase, and each time, the audience audience is left with less and less to hang on to. Magic that can unfold in this style is the best way to deal with those in the audience who are using their most critical faculties. The use of multiple phases (particularly those that mirror each other) causes the attentive observer to halt his or her attempts at method deconstruction. Furthermore, the pattern lulls

*

Its

interesting

to

ponder

how

this

effect

originated.

Did

someone,

long

forgotten

to

histor) 1 ,

engineer the pin with this ability, or did another person (perhaps a tailor or seamstress) scumble upon a property of the safety pin that is merely an accidental byproduct of its design? The world may never know.

104

'Harlan 'Harlan Tarbell, Tarbell, Љ е Tarbell Course in Magic, Vol. 3. (1927), Lesson 36, p.79.

105

Th e  Ph a n t o m  R e t u r n s

Th e  Do o r s o f  De c e p t i o n

not  work. A pin with even slightly more angular innards will not   work.

 It's sharp, sharp,but check check it out. out.

Hand it to her for examination.  It's an old diaper diaper pin. pin. Fve had had it since since I was pretty pretty young. young. This, This, of cours course, e, is not a di ap e r. ..

Display the quarter-folded handkerchief.  It's a gent gentlem leman anss hand handker kerchi chief. ef. You You can can feel feel it, it, too. too. ... It'

You

will

also

require

a

mens

cotton

handkerchief

that

measures

 Have  Have you eve everr heard heard the phras phrasee “the “the fabric fabric of time time and and space space”? ”?

approximately  \51   square inches. I use the least expensive white handkerchiefs

 It’s  It’s someth something ing you’d you’d hear hear a scient scientist ist,, like like Stephe Stephen n Hawki Hawking ng Carl Carl

I can find because they will not last through many performances. I tend to

Sagan, or Neil deGrasse Tyson say. When my grandma showed 

replace the handkerchief every few shows. I also pierce the safety pin just inside

this to me she didnt bring these guys up, but, over time...

the hem of one corner to minimize any extra holes and to keep the props together in my pocket, as well.

Well, Im not saying I exactly understand what they are even

The routine begins with the cloth folded into quarters. You will unfold it

talking about (actually, it sounds like pretty far-out stuff to me),

once in each phase, ending with it completely spread out for the finale.

but either way, I think you’ll find it’s a pretty accurate metaphor.

Phase 1  The Fabric ：

o f  S  Spac e-Time

Would you like to see the first trick I ev&r learned^

While the participant is holding the safety pin, take back the handkerchief so that it is spread on the flattened left hand in a diamond orientation. Throughout this phase youll want the single edge of the cloth facing the spectators, and the four pointed corners toward the floor. This leaves the center

 Its somet somethin hing g my my gra grandm ndma a taug taught ht me when when Istill still prett prettyy much much a baby*

of

the

handkerchief

uppermost,

between

the

thumb

and

fingers.

This

orientation' is the cleanest, so to speak, and will aid in the handling in a moment, too.

 Hi, Im Paul. Paul. What' What's your your name? name?  Hi, Karen. Karen. Plea Please se,, be car ef ul .. .

Open the safety pin.

Cf. Tommy Wonder, t£ Through the Eye of the Needle,5, Visions of Wonder, Vol.l (2003)-

106

107

T h e  D o o r s

o f  D e c e p t i o n

Th e  Ph a n t o m  R e t u r n s With the cloth so oriented and held vertically, fold the top half away from you along the horizontal diagonal. Holding the handkerchief securely in the left hand, retake the safety pin and pierce its needle about a quarter of an inch from the top edge.

fingers, turning the entire handkerchief over, right to left, showing the other side, and then over again, left to right, candidly showing both sides. As an afterthought, show the front and the back by flopping it over from your left hand to the right hand. If youd like, also allow someone to feel the  portion of the safety pin that runs out and in through the back.

Hand the entire bundle to your participant. Can you close the pin there for me, Karen? Thank you. And  now yo you kn ow .. .

Point to the point of penetration. . . . that’s that’sreal. real.

Then, flip it back to the left hand, freely showing theres nothing to hide. At this point, you can also have someone pull on the pin to verify that it is completely secure. Replace the cloth on the flat left hand and tilt the hand up, so that the four loose corners are at the bottom, the center of the material is at the top, and the head of the safety pin is facing upward. With your right hand, take the pin at its center, pull on it, and ask:

Take the cloth back and openly show the res.t of the audience that the pin is definitely affixed -to the material. Here is where having the center of the cloth oriented upward will ease the handling. By taking the corner that s folded back

So what would it be like if you could rip a hole in the fabric of  time and space?

in your left hand and the four free corners in your right, youll easily be able to separate the hands and open the handkerchief back into its diamond shape.

Move the right hand down slightly and grip the spring end of the pin. Flatten the folded handkerchief on the palm of your left hand as before.  Next, display everything fairly by taking the right corner with your right

108

Th e  Do o r s

o f  De c e p t i o n

Th e  Ph a n t o m  R e t u r n s

 Do you think think some somethi thing ng like like tha thatt is is even even pos possib sible? le? And) And) if so, so,

dasp!), the cloth will ride into the clasps channel and slide free from the pin,

what kind of evidence would that leave behind?

even though the pin never opens. Indeed, when the technique is done correctly, there should be little force needed to disengage the pin from the fabric.

While pulling on the pin, say:

If you are pulling and nothing is happening, then the method is not being applied properly. As Tarbell writes: aThere is a certain knack in performing the

 It’s  It’s defini definitel telyy stuc stuckk in in ther there. e.

illusion as, if not done correctly, the doth can be torn.” As soon as the pin is pulled free, instantly place it onto the participants

 Next, in preparation for the upcoming removal, rotate the safety pin toward

outstretched hand; do not, however, look away from the cloth. As a general rule, its usually beneficial to apply the aphorism,

yourself.

££Make

the important seem

unimportant and the unimportant appear important/5  Keep all focus on the fabric, bringing both hands together to massage the cloth between the hands. Squint your eyes, putting all attention to where the material should be ripped (but, of course, isnt). Slowly start to open your eyes in amazement (although no one else can see what you re looking at, they can see your reaction) and let a smile creep across your face. Take whatever time you imagine it would take for the cloth to magically restore itself, and then begin to open the hands to expose the unharmed surface.

Please hold out your hand. You re not going to believe this.  Dont  Dont blink. blink.

With the safety pin now spun toward yourself, and the cloth held securely  by your left thurfib and palm, roll the pin over one more time toward yourself (looking down from above, the cloth should create a

C£Z5>  formation)

so that a

layer of material is now covering the pin (the left fingers curling inward also facilitate this), and begin to pull the cloth up and away from the stationary pin. With the handkerchief still in its diamond formation, sweep your hand across it, as if brushing away any remaining imperfections in the material. Display both sides to show that there is miraculously no damage whatsoever, and then hold the cloth out and high, signaling an applause cue.

Phase 2  You Dec ide ：

Open the handkerchief so that its now folded just in half and hold it in your left hand with the crease uppermost. Because of the pressure of the cloth being doubled over against the spring side of the pin (and, counterintuitively, because of the very design of the

110

Perhaps we can take this a step further, Karen.

111

Th e  Do o r s

o f  De c e p t i o n

With the right hand, pierce the pin through the cloth about a quarter inch from the top crease and a few inches to the right of your left hand.

Th e  Ph a n t o m  R e t u r n s

Good. And now, with your free hand, point to a spot. Like here, or here, or, if you really want to challenge me, Karen, it can be all the way down here.

Suiting actions to words, point to a place along the top, folded edge near the center. Next, point to a spot a bit closer to your helper. And finally, point to a place along the top edge near the participant s end of the handkerchief.

 Andyou can see, see, that that IS IS real real..

Close the pin slowly and clearly. Pick up the opposite end of the handkerchief and hold it out toward the participant, who should be on your left.

You see, this is where you get to decide where reality ends and   fantas  fantasyy begi begins ns* *

Once shes decided, give her one more chance to change her mind.  Right  Right here? here? Youre Youre sure, sure, Karen Karen? ?

 Hold  Hold onto onto this this corne cornerr for me with with your your right right hand. hand. You dont  dont 

Okay, then! Hold on tightly. Dont let go.

have to pull on it; just make sure you re holding it securely.

Once the spot has been designated, you will openly ^rip^ the pin to the spot Bring your right hand up and pinch your fingers firmly together to

 just requested, utilizing a technique similar to the one described by Tarbell in

illustrate what you mean.

“The Phantom Safety Pin.”T  I will, however, stress a few additional details.

Tightly, like this.

does float. Try to keep in mind that the following actions happen in the span

Honestly, it seems impossible even when explained; but trust me, this boat of just a few fleeting seconds. Pull slightly from your end to test that she has it held firmly, and then keep the cloth taut between both of you.* * I should point out here that this situation is slightly, but crucially, different from the one Tarbell describes. While relying on the same basic mechanics, Tarbell places the pin on the spectators end of the cloth and then magically slides it toward himself. This will work as long as the participant doesn't freak out and drop her end of the handkerchief mid-slide, which can happen in an effect as visually arresting as this one. With the pin placement and handling I recommend, you slide the  pin away from yourself; therefore, therefore, youre never at the merc^ merc^ of the helpers grip.

112

Carefully hold the pin at the spring end between the right thumb and index finger; the pin starts at a 90-degree angle to the cloths fold and parallel to the

* A wonderful phrase courtesy of JeflF Corn. t Perhaps the sparse description in Tarbell  can account for the modern unfamiliarity with this trick; I am also positive that almost everyone ripped whatever fabric they were using on their first attempt, which couldnt have helped the trick catch on, either.

113

Th e  Do o r s

o f  De c e p t i o n

Th e  Ph a n t o m  R e t u r n s

floor. Stroke the pin back and forth a few times like a violinist moving a bow across the strings, emphasizing that it is truly piercing the material. After a few 'strokes of the bow,55  push the pin forward one final time until the backs of the index and middle fingers,  center phalanges come into contact with the cloth; they will remain in contact throughout the upcoming movement.

The arms larger motion of sliding the safety pin will cover the smaller motion of changing the pins angle here.

The actions described in this paragraph all happen almost simultaneously. With the right hand, which is gripping the spring end of the pin, begin to slide the pin toward your helpers side of the cloth. The pierced point of the material

When the pin has reached the spectator s designated stopping point, rotate the wrist slightly and naturally (turning the pin clockwise); this will, like the turning of a key, bring the staff uppermost again. In a continuing action, with a slight forward u jab,， >  push the point back through the cloth, returning the pin to the same 90-degree angle (with respect to the cloth) it was at a moment ago.

will automatically act as a fulcrum, causing the pin to pivot and become almost  parallel to the cloth. As the full-length of the pin comes against the handkerchief, let the right hand rotate slightly and naturally at the wrist, as if turning a key in a lock, causing the staff side of the pin to turn down (counter-clockwise), bringing the entire pin parallel to the floor.

People are never aware that the pins angle changes from perpendicular to  parallel and back again—the pin just appears to have melted through the cloth. What you want to achieve here are the same positions your hand and the safety  pin started in before you magically melted it through the fabric.

The alignment of the pin with the cloth and this small rotation are enough to allow the fabric to glide through the inside of the clasp and along the needle.'*'

* The side of the pin that s

 penetrating the cloth, i.e., the length of the pin opposite the needle.

not 

t Tarbell makes the point that pushing the pin forward against the cloth causes the point of the needle in the clasp to move back very slightly (i.e.， the thickness of the fabric) but not enough【 〇 unhook it.

114

Th e  Do o r s

o f  De c e p t i o n

The movement of the pin along the cloth is so open that it will come as a complete shock, and the audiences own surprise delivers all the misdirection you need. Once again, ccthe big action covers the little action/5 As soon as the pin has moved to the designated spot, take your right hand

Th e  Ph a n t o m  R e t u r n s

the latter, be sure to raise the knee upward by pushing up with your left toes to keep everything clearly displayed. This phase will employ the same method used in phase 1. Begin, as before,  by holding the pin by its spring end and rotat ing it away from you.

and grab a handful of the fabric just to the left of the pin. Then, do the same with your left hand next to the right.

 It reall reallyy is is still still in there there!! At At leas leastt itit appe appears arsit is.Look, Look, is there there any way it can come out the top?  No.

While displaying the safety pin, surreptitiously begin to roll the pin toward you.

Stroke the fabric, moving your hands away little by little from the safety pin (along the path it just traveled), as if healing any imperfections that may remain. Finally, when you reach the end you were holding, let go of the cloth, allowing the participant to examine everything.

P hase  3：  Lies ar e Made f r o m Wh o l e  Cl o t h

 It’s  It’s ur^b ur^beli elieva evable ble isn’t isn’t it? They They say say lies lies are made made from from whole whole

 Is there there any any way way it can come come out out the bottom bottom? ?

cloth. Let's open this up so we can see the whole picture.  No,of cours coursee not. not.

Unfold the cloth completely and continue to show the safety pin is securely fastened to the handkerchief.

Roll the pin back toward you until you ve gained the necessary overlay of cloth and pressure against the pointed prong to facilitate the extraction. (The  photograph below shows an exposed view, without the cover of the left hand.)

You can perform this phase on the table; if no table is available, you can  perform the actions on your left thigh, just above the knee. If you decide to d°

116

Th e  Do o r s

o f  De c e p t i o n

Th e  Ph a n t o m  R e t u r n s

Start to pull the safety pin out to the right to disengage it, keeping the left hand in position to cover the work being done there.

 Af t er t hought s

Although it’s something I’d never do, I cant help but imagine a gospel magician doing this trick and referencing the white pocket square as a symbol of purity. Then, in the solemn tones only a clergyman can muster, I can hear him introducing the aevir J  safety pin that will penetrate the immaculate cloth. Only by the grace of higher powers is it shown to be healed! Praise be and hallelujah! Also， if you like “The “The Phantom Returns， ” I suggest you look up Michael Michael Webers fun idea that also incorporates this principle in uDown with Safety/5*

Once the pin is extracted, immediately draw attention to the sound that is  produced by the withdrawal because, if done properly, it will sound almost exactly as if the fabric is being torn. That didn't sound good, did it?

With the safety pin removed, hold it aloft in the right hand, and simultaneously squeeze the left: hand to gather the handkerchief in your fist.

Once the fabric is bunched in your fist, bring the left hand up to display it, too. For a moment, massage the material as if healing the tear that they all just saw and heard you make. As the left hand continues to make its healing actions, set the pin down. Slowly open the cloth with both hands and act as if youre looking for anything wrong. Then, spread the cloth between your hands, holding it at the upper corners and letting it drape down. Finally, lift it up high, triumphantly displaying both sides so that everyone can see that it is 4  without scathe.， >  Set the handkerchief down and allow everything to be examined. *Michael Weber, Life Savers (1991)  pp. 47-48. ，

 Three  Three is a magic agic num number. ber. -Sc h o o l h o u s e Ro ck

C OPPER/ BRASS/ SILVER Guitar  ♦  London n  ♦ Wagner  ♦  ♦  Londo magician displays three coins: a silver American half dollar, a copper British penny, and a brass Chinese token with a hole in its center. He holds the silver coin in his right hand and the other two in his left. With a magical gesture, he causes the coins to transpose asymmetrically, two for one. To simplify matters, the mystery man gives the copper and brass coins to a participant, freeing himself to hide the silver coin in one of his fists for a quick game of "Guess Which Hand Holds the Silver participant pant choo chooses ses,, only only to find her her guess guess to have have been been friv frivol olou ous: s: Coin,  The part somehow she is holding the silver coin, and the magician now has the brass and copper coins, one in each hand. Then, before the participant has time to analyze these magical events, the magician causes the three coins to vanish.

The following three-phase coin routine utilizes a familiar, but revolutionary gaffed coin invented by Pressley Guitar. Originally dubbed K Copper, Brass, Silver”* (and， according to Guitar’s patent, “Coin Magic Device” Device”卞)， the gaff gaff is a refinement of Connie Hadens shell and insert from w2 Copper/1 Silver.” Guitars ingenious gafF has been ripped off enough times to have become a “standard” coin prop, and it has since become known as “Copper  Silver  Brass,” and “CSB.” ，

，

As with “Determined Choice” and “Free Will of Order,” each of which was offered as a substitute for the other, I offer the handling of this neoclassic as an alternative to uThe Phantom Returns.55  You could, of course, ring it in at anytime during the performance; however, because both routines feel like classical legerdemain and deliver similar magical beats, I think its clear that

t Specifically because Mr. Guitar likes that the initials CBS  CBS   coincidentally match those of the ipolumbia Broadcasting System (Jared Kopf, personal communication). »United States Patent 3,822,879, filed December 1, 1972.

Th e  Do o r s

o f  De c e p t i o n

“Copper/Brass/Silver” and “The Phantom Returns” fit the same thematic place in the overall set. I should also point out that, apart from a few unquestionable classics,* I  perform very few tricks with coins. I fi nd most coin effects to be futile displays that make people ask nothing more profound than wWheres it hiding?M  The handwashes and pseudo-natural arthritic finger positions have led me far away from feeling any sense of magie, and I suspect that many audiences 一however much they might appreciate or respect the manipulators skill—feel nothing deep, let alone magical, when they witness coins jump around, change color, or (oh, Christ!) grow in size.

Co p p e r  /Br a s s /Si l v e r  

coins should be set with the tail sides facing the same direction, and the hole in the brass Chinese coin should be facing outward. When the coins are removed from the pocket, its best if the gaffed coin is facing away from the fingers; the hole in the gafF will allow you to determine its orientation by feeling for it with your right thumb. By pinching the binder clips ends, its easy to release the coins into right-hand finger palm; then, just drop the clip to the bottom of the pocket.

Most coin tricks convey nothing beyond the magicians cleverness; they  point directly at the performers dexterity and, therefore, can be dismissed as something achieved by mere prestidigitation, which is what we sleight-of-hand artists should be trying to conceal. Beyond this, most modern coin magic seems to demand a performance speed that’s far too fast for my taste. Therefore, what I hope you find below is a piece of <£coin magie5 (as opposed to “coin manipulation”)， whose phases are are succinct， properly paced, and and easy to follow. Most of all, I hope you find that your audiences will not experience it as a display of skill, but rather as a mystery that defies rational comprehension. WCBS,5 set

Having had the same for over twenty-five years, Ive come back to it many times to see if I could find a way of selling the obviously powerfiil method as a piece of real magic. What specifically renewed my interest was seeing an old friend, Nathan Kranzo (whom I dont see nearly enough these days), handle the ending by vanishing the coins. Other/friends have also approached the finale in this wa/， most notably Las Vegas card card expert Allan Ackerman.t Ackerman.t With these and other great thinkers as my inspirations, IVe aimed to push the basic method to the limits of its beautiful simplicity and end the trick by turning the coins from tangible objects into figments of the imagination.

A friend of mine, Baltimore magician David London, has one of the best introductory speeches for starting this effect, and hes kindly given me  permission to include a slightly modified version of it here.*  Let’s  Let’s try somet somethin hing g design designed ed to test test your your percep perceptio tion n and your  your  short-term memory. Youregoing to do great! Weve talked about the game they play in New York on the street  corners—that old con game called three-card monte. Well, there are many different forms of it: sometimes it uses three shells and  a little green pea; other times it uses cups and balls. Regardless of  the objects being used, it's the players job to follow the target 

Me t h o d & Pr e s en en t a t i o n

object as it moves around. And if they follow that object, they win. If they dont, the con man wins. But, folks, the players

In this version, you will use only the gafF and one real fifiy-cent piece. With no extra coins, the pocket management is simple, and you can secure the nested shell and half dollar in your right jacket pocket with a small binder clip. The

 f s a con game, and the con man never win, right? Because it 

always wins. So this game is just like that game. Except instead of playing FOR money we are going to be playing WITH money.

* I favor, for example, “Matrix,” the copper/silver transposition, “The Cap and Pence,” and t  After that, the selection of truly mind-altering coin magic begins to wear thin. t Unpublished material (PaulVigil, personal communication).

122

Tliank you, David.

Th e  Do o r s

C o p p e r  /B r a s s /S i l v e r  

o f  De c e p t i o n

Mo d i f i e d Fa n t a s t i c  Chi p Tu r n o v e r  

Bring the coins from the right pocket, not hiding them but also not quite revealing what or how many objects youre introducing. Place them into the left hand, letting the insert fall out to expose the copper coin.

Close the right fingers over the shell as you approach the British penny in the left hand. Begin to describe what should be on the opposite  side of the copper coin. This has someone someone here—Queen here—Queen Elizabeth, Elizabeth, Im pretty su re .. .

Take the copper penny between the right thumb and forefinger as you continue the description of its engraving. Your words need to be just a step ahead of your actions, so that the upcoming bluff turnover will fly perfectly under the radar. I first came across this type of move in aHeins Catch Up** by my good friend and West Palm Beach magician, Karl Hein. Further research has shown Keep in mind that when the three coins are displayed throughout this routine (whether on your palm or the participants), the non-gafFed half dollar should always have the heads side showing. This will not only allow you to display a heads side as often as possible; it will also prevent a topological discrepancy when you turn your fist over and extract the gafF, which can only show tails on its silver side. This may seem a small point, but you5d be surprised at the small details that people can pick up on. Three dijferent coins, from three different parts of the world. One from China, I think—definitely somewhere in the East. This one is an British penny, and this one were all familiar 

that this false turnovers roots go back at least to Fantasio—though probably not the one most of us are familiar with: the move belongs to his daughter, Jackie. When performed correctly, the sleight is a thing of beauty that flawlessly simulates the timing and movement of the real action. Though it might seem difficult to perform this move while youre holding the shell in the right hand, I assure you its hardly a challenge: you will secure the shell in the right hand against the palm with just the third finger while you execute the false turnover with only the first finger, second finger, and thumb. Place the right thumb tip on the upper surface of the coin and bring the right first finger to the coins front edge. Curl the forefinger around this anterior edge, lifting it slightly, so that the fingertip touches the underside of the coin.

with: a silver fify-centpiece.

As you describe the coins one at a time, display each one in turn by picking it up with the right fingers. Start with the Chinese coin. Hold it up at the fingertips and look at the audience through its center while you remark:  As you can see this one has a hole in it; that’s different.

Openly shift the shell to the right palm at the base of the fingers, being careful not to flash its dirty side. Then, briefly display all the coins on their respective open palms. *

This position is exactly the same as the one you would adopt if you really meant to flip over the coin; however, heres where things get sneaky. As you  HeinsCatch ch Up (2013). * Karl Hein, Heins

124

Th e  Do o r s

Co p p e r  /Br a s s /Si l v e r  

o f  De c e p t i o n

 begin to lift the coin, pinch it between the first finger and thumb, causing the coin to turn sideways and become perpendicular with the outstretched left hand.

. . . a n d I think think that's Britanni Britannia a on this this sid side. e.

Performed smoothly, it should merely look as if you are casually showing  both sides of the coin while commenting on the details of both surfaces. When finished, take the British penny into the right hand, too, oriented copper-side-out on top of with the Chinese coin that s already there. While still securing the two coins in the right hand, pick up the silver coin between the right thumb and forefinger to briefly display it; then turn it over and back onto your left palm as you say: Of course, heads and tails, were all familiar with this one: the

The coin is also, for a split second here, completely obscured by the back of the right hand. With the aid of the right thumb, rotate the coin around the first finger until its parallel with the floor. Then take the insert, pinching it  between the first and second fingers.

 Ameri  American canhalf half doll dollar ar..

Show all three coins freely on the open palms of each hand, the foreign coins on the right and the American coin on the left. To transfer the coins in the right back to the left, turn your right hand palm down and let the coins drop to the fingertips; now the shell is on top and the insert is underneath. Bring the thumb to the inside of the shell and rotate the coins under and outward, displaying the proper sides. Place the insert down on the silver coin and then add the shell on top of all, forming a staggered spread that s fanned forward in an overlapping row toward the fingertips. Three coins from three different parts of the world. You dont 

Finish by rotating it under and out to the right fingertips again, showing the same side as before.*

have to pay attention to where they’re from, but you do have to carefully watch where they re going; that wayy you can learn how to protect yourselves from these so-called games. It’s basically two foreign coins and an American half dollar.

P hase 1:  1: Th r e e Wise  Men

& t he  Se t t i n g  Sun

With the coins displayed on the left palm, close the hand around them, letting the gaffs shell and insert coalesce. Turn the left hand palm down. With the right index finger above and * Cf. e.g.,  Richard Kaufman, ^Fantastic Chip Turnover,и  New  New York Magic Magic Symposium osium Colle Collecti ction on 1 VoL (1982), pp. 43-44 and modification by Michael Rubinstein, Knockout Coin Magic, Vol. 2  and VoL 3(2001).

126

thumb below, reach into the left fists opening and remove the gafF, silver side up. If needed, you can feel the hole with the right thumb to be certain of the  proper coin and its orientation.

127

Th e  Do o r s

Co p p e r  /Br a s s /Si l v e r  

o f  De c e p t i o n

Tilt the gafF up and display the coin as the half dollar, holding it at the right fingertips, with your thumb at the rear and being careful not to flash its back.  Next, holding the coin with just the right first finger and thumb, allow gravity to pivot the gafF downward, toward the palm, while simultaneously extending the remaining right fingers over the front of the coin. If needed, use your thumb to slide it into position toward the palm at the base of the ring finger; the hole in the back of the gafF can sometimes help facilitate this

Completely close your right hand and begin to turn it palm down.

.

.

.

set in the west...

Keeping both palm-down fists wide apart, start to massage the supposed two coins in the left hand while letting the coin drop to the left fingertips.

movement, too. .

.

.

and then rise again ...

Once the coin is at the base of the ring finger, bring your fingers slightly inward, allowing the coin to pivot face up onto the palm. Open the hand to display the single silver coin candidly. Then, close the fist алс! begin to turn it  palm down to mirror the orientation of the left hand. As you look at the left fist, say: So) you know what’s what’s here. ..

Turn left hand palm up but keep it closed and in a slighdy raised position for a moment; then begin to lower it and turn it palm down again as you explain:  Because this is here.

Your left fist should be palm down once more just as you turn the right fist  palm up and open your fingers, briefly allowing them to see the silver coin there once more. When the fingers are opened, the single coin should still be  positioned correctly on the palm, at the base of the ring finger in readiness for the upcoming transformation/transposition.*  Agairiy three different coins from three different parts of the world...

Fairly and slowly, begin to close your right fingers around the coin, allowing it to be seen until the last second. ... but it doesn’t matter where the wise man is from; he knows that the sun will always...

Rub the coins in both hands for a few seconds.

.

.

.

in the east.

Slowly bring the left hand up and push the silver coin to the fingertips. As this coin comes into view, use the thumb and middle finger to roll it around :he index finger in an action very similar to the false turnover used previously. Once the rotation is complete, shift the coin back to the fingertips. Although youre not using this move as a false turnover at this point, you will be utilizing this action for that purpose in a moment. This is a nice way to 'establish the move,55 as a cheater would say. By doing a legitimate display now, the false version will arouse less suspicion simply because its flow wont be so foreign later. Freely show both sides of the coin at the left fingertips. Then, using the display as cover, lift the inner edge of the gafF with the right thumb, disengaging the shell from the insert. Bring the half dollar to rest on the fingers of your open left hand. Simultaneously, keeping the back of the fingers to the floor, rotate your right wrist and slowly roll the hand out and palm up to display the two foreign coins similarly in the right. The shell and insert must end up precisely positioned along the second and third fingers, with the their bottom edges touching the inner long side of the pinky. This is why you placed the gafF precisely at the  base of the third finger a moment ago when it was still masquerading as the half dollar; if you had to reposition either of the foreign coins at this point, уоиУ be drawing unwanted heat on the upcoming upcoming move. With the fingers somewhat open, allow this picture of the single silver coin now in the left and the two foreign coins in the right to resonate for a second. Show the opposite side of the silver coin again by curling the left fingers and

* This position is crucial for an upcoming move, so be sure to note the required placement of the nested gafF before  you open your hand to reveal the brass and copper coins. Its better to achieve

this position in the natural action of opening the hand rather than having to make a noticeable adjustment after the coins are revealed.

128

letting the coin flip over and onto the palm.

Th e  Do o r s

o f  De c e p t i o n

Co p p e r  /Br a s s /Si l v e r  

Mo r r i s ' Fa l s e  To s s As you display the two foreign coins on the right middle and ring fingers center and inner phalanges, raise your little finger imperceptibly so that the coins’ edges rest against it.

Because youve just freely flopped over the silver coin, you will somewhat mirror that openness with the other coins by flipping them into the left hand. Holding the right hand approximately four to five inches above the left hand, allow the coins to fall off and out of the right hand, rotating off the ledge

 J .C. Wagner 's  Handling You’ll now use a part of J.G. Wkgner’s ballsy addition to this effbct by placing the three coins onto the participants right hand.* Specifically, pick up the copper and brass coins with your right fingers, taking the insert on top of the shell.7  Roll the silver coin to the left fingertips and place it heads side up onto his open right palm. Push the shell to the left with the right thumb and take it with the left fingertips. Place the insert remaining in your right hand onto the silver coin in his hand, stepped back. Place the shell, again stepped to the rear, on top of all.^ All three coins should be staggered toward the participant. Show your hands empty, fingers spread, flashing both sides. Then reach over with your left hand and gather the stack on his palm. Because they are fenned toward him, your fingers will completely cover the coins as you draw the shell back and over the insert; furthermore, your left thumb will be in the  perfect position to nudge his hand closed.

created by the slightly raised pinky. When the coins fall from the right hand, they will flip roughly 270 degrees before landing same-side up in the left hand; however, it will appear as if both sides have been seen. This open move is somewhat akin to the secret turnover of an Okito Box. In the past IVe also seen the same move used tp apparently show both sides of a coin,* but it was JefF Corn who first showed me how it could be done with two. In my experiments with the two-coin version, IVe discovered something rather fascinating: if you also tilt your right hand slightly upward, bringing the fingers higher than the wrist, you can often cause the shell and insert to trade  places in mid-air. If they land in the left hand with the insert on top of the shell, youve added a small, but significant, touch of deception.

P hase  2：  An  Unwitting  Examinat xaminat ion  It’s  It’s a crazy crazy game, game, kuk? kuk? Perh Perhaps apsyou weren’ weren’tt read readyy for for it. Let’s Let’s

Once he s made a fist around the coins, rotate his hand palm down and say:  Hold  Hold still still and and watc watch h this this.. Let me simpli simplify fy the game game a bit bit this this time.

With your right thumb and second finger, reach into the thumb side of his hand and remove the lower of the two coins, which is, of course, the nested gaff. Keep it properly oriented silver-side up and be careful not to flash the other side.

 play  play agai again. n. What’s What’s your your nam name? e? Thanks for helping, Kevin. Please hold out your right hand,  palm  palm up. up. * Don Morris, uTwo Faced,и The Trapdoor, Vol. 1, Issue 2 (1981), pp. 31-32.

130

* Mike Maxwell, 92-96.

4
Real 2 Copper 1 Silver,5, The Commercial Magic ofJ.C. Wagner   (1987), pp.

t This will allow you to freely rub them together, between the second finger and thumb, without them coalescing. $ Use a left, right, left rhythm.

131

Th e  Do o r s

o f  De c e p t i o n

As you remove the coin with your right hand, use your left hand to stabilize his fist, and (this is very important) squeeze his hand.

Co p p e r  /Br a s s /Si l v e r  

Moving the right hand away from the left as a playful 'smoking gun/' massage the left hand somewhat guiltily, and smile.

 Hold  Hold tigh tightly tly.. It'l It'lll be be eas easier ier to follow follow ...

While displaying the silver side of the gaff at the right fingertips, show your left hand empty. Then, transfer the coin to the left hand to quickly display the right hand empty, too. . . . i f we only only use one. one. Watch Watch carefull carefully! y!

You will now make a purposely convoluted pseudo-sleight so that it appears as if you are trying (and unwittingly failing) to make them lose track of the coin. With the gaff at the left fingertips, bring the open right palm up to the coin and openly place the coin into classic palm position.

So, which hand is it in?

After his guess, open both hands palm up, fingers spread, and show the silver coin in the right hand, and laugh. Okay, I was just trying to fake you out. That was just a dress rehearsal, now we play for real.

Youll apparently start another round of the guessing game. Quickly turn the right hand palm down above the left hand and, in a tossing motion, classic  palm the shell, letting only the insert fall into the left palm—the audience should be uncertain whether youve actually tossed the coin from the right hand into the left, or not. Without pausing, quickly close both hands into fists again and hold them palm down side by side, as before. Hold the coin against the right palm with only the left index finger, and  bring the right fingers around the gafF. Begin to close both hands into fists and keep the hands in contact throughout. Remove the left index finger and turn the its fist palm up as you rotate the right hand palm toward you and extend its index finger into the left fist on the pinky side.

So, where is it now?

One more thing will need to happen before you can open your hands: the shell in the right must be turned over so that, of course, the dirty side faces the  palm. Sometimes you can get it to go covertly as the hands turn and close, but you really dont want any extra movement here. Its better if you cover this by  playing with the participa nt and his decision(s). If he points to the left hand, shake the right fist up and down and now allow the coin to spin over secretly; if, however, he points to the right hand, go ahead and shake the left. Either way, he will go back and forth to each hand at least once with the following banter, and the moment he chooses the left, use this opportunity to shake the right fist and secretly flip the shell.*

Yet another example of a large action covering a smaller one.

132

133

Th e  Do o r s

o f  De c e p t i o n

Co p p e r  /Br a s s /Si l v e r  

If he picks the right hand first, it would play out something like this: Close the left hand into a fist, turn it palm down, and with the right first The silver coin, Kevin.

finger and thumb, take out the gafF from thumb side of the left fist, displaying it as the silver coin.

Shake the left hand until he points to it.  No,Kevin, Kevin, the silver silver coin. coin.

Shake the right hand, secretly flipping the shell. The silver coin ...

 And that’s that’s real. real. Youcan see it.

Mimicking the actions used in the first phase, you will now apparently show both sides of the gafF using a false turnover that s quite similar in action,  but this time twirling the coin while holding it up  as opposed to turning the coin over on the palm. Hold the coin between the right thumb and index finger. Curl the first finger in, rolling the coin over and around it.

Then, massage the coins, turn the fists palm up, and open both hands. Kevin ... The silver coin.

Simultaneously, extend the middle, ring, and little fingers to help cover this action. He will not be able to open his hand fast enough to find the silver coin. I have found this delayed approach to Wagners phase far more effective than any visual transformation. The participants priceless reaction will be all the proof you need.

P hase  3：  Going , Going , Go ne ! Place the shell onto the left hand, staggered on top of the insert. With your right hand take the silver coin from the participant and place it on top of all, forming a three-coin spread. Regrip the coin between the index and middle fingers and push forward  Magic  Magic is about about creati creating ng illus illusion ionss out of realit reality. y.

134

with the index finger, bringing the coin parallel to the floor.

135

Th e  Do o r s

o f  De c e p t i o n

Co p p e r  /Br a s s /Si l v e r  

Gingerly give your left hand a slight shake.

Bring the right thumb from underneath and lever the gafF up and out returning the coin to its previous position.

 Listen  Listen...

Snap your right fingers.  Did youhear hear that?* that?*

Massage the supposed coins in the left hand.  Look  Look • . •

When performed smoothly, it should merely look as if you are casually showing both sides of the coin while moving it from one side to the other. Of

Slowly open the left hand.

course， because you’re showing the tails side side twice， this isn’t really a “burnable” move;* its an easygoing display that takes place while youre addressing the audience, who will only peripherally perceive the double flash of silver.

 Its the last last you you II see or hear hear of of them them!!

Take back the real fifty-cent piece.  I’ll  I’ll get get ridof this this one. one.  May  May I? I?

Place the gafF back into the right pocket and then show both sides of your hand, making sure the audience knows that it s not hidden there.

Take the coin with your left: hand and briefly display it to those on your left. Openly turn the coin and transfer it to the right hand, holding it aloft by

 Do you believ believee in in deja deja vu? vu?

the index finger and thumb, displaying it to the right side, too. Blow on the closed left fist.'*' With the right first finger and thumb, reach into the left fist from its thumb side and remove the silver coin, which, of course, shouldn’t be there.

One more...

See? Magic is about creating illusions out of reality. Now is that  real? Take it, Kevin.

(Wa t c h ) The  Final  Vanish

.

Give him the real silver coin.  And the foreig foreign n coin coinss...

* While the gyration the coin is taking here is very similar to what happens when you do chc false turn on the hand (which is extremely £< burnable,5), its just not as covered when executed up at the fingertips and in the open. Experimentation will show just how loose you can get with the display. t Notice that here we blow, but on the vanishes well snap for the magic moment; I believe its important, theatrically， that different commands and gestures achieve varying results.

While apparently putting the half dollar into your left hand, you will either drop the coin in your left sleeve or load it under the watch^ on your left wrist. As you will see, the techniques for both vanishes are quite similar.

* Although youre addressing the person holding the coin, the audience can, and may, assume that you are referencing the sound of the coins, and not the snapping of the fingers, leading some to  believe that coins were seen and heard there just before they vanished. t Q  Joshua Jay, "The Watch Vanish," Triad Coins (2015). ：

137

Th e  Do o r s

o f  De c e p t i o n

Hold the coin at the right fingertips and bring the left hand up and across the front of the coin, obscuring it.

Co p p e r  /Br a s s /Si l v e r  

As you remove the right fingers from the left fist, raise the right hand with the index finger pointing up, as if youre about to make a point. At the same time, begin to massage the imaginary coin in your left fist.

Once the coin is covered from the front by the left fingers, move the three unencumbered right fingers to the base of their left-hand counterparts and

Focus all your attention on the left hand and then snap your right fingers,

anchor them there. As you close the left fingers around the three right fingers,

still keeping the right hand somewhat closed: once you effect the vanish, the

continue to move the right index finger and thumb, with the coin, toward the

right hand will be the most likely place the coin could be, and you dont want

watch or sleeve, being sure to keep the coin parallel to the wrist.

to prematurely step on the audience s expectations. Slowly open your left hand, showing nothing is there. All attention will now move to the right hand, but its too late. Slowly open the right fingers. Gone!

Show both hands freely. All the coins have vanished.

Af t e r t h o u g h t s At this point the coin is lodged under the watch band or allowed to drop into the sleeve. Once the coin is safe in either place, pivot the left hand

To me, this effect covers so many of the classics of coin magic in a very compact

and

concise

routine:

vanishes,

appearances,

transpositions,

clockwise around the front of the right hand, and bring the right fingers out

transformations, coins across, even the Misers Dream can be loosely included

from thumb side of the left hand.

in this fantasy. If you have a coin rattle, the third phase is a perfect place to employ the audio illusion, clinking the ostensible foreign coins in the hand immediately  before they vanish. Another subtlety can be put into practice here as well;  before taking out the gaff to start the last phase actually remove the real half dollar and display it freely asking: Can everyone see that well? Ifelt Fd lost some of you already, let  me start over.

139

Th e  Do o r s

o f  De c e p t i o n

 There  There are are thi thing ngs s known known and and the there re are things unknown, and in between are the doors ...

Do just that, by replacing the fifty-cent piece, waiting for their full and undivided attention, and then remove the gafF to begin/ When the audience is in quite close and can see the action well, this is a really wonderful routine to end with, for as the coins leave, so you, too, must go. There is something poetic in the theatrics of the props melting away, leaving nothing to work with.

If youVe sleeved the final coin, you can easily and covertly ditch it in the left  jacket pocket while searching for the next required prop. Also, if the strap to your watch is thick enough, the coin can even remain under the watch for the rest of the show. More than once IVe become sidetracked in the middle of a  practice session only to realize, much later, that Vd   been hiding a coin from myself for hours.

—Al d o u s  Hu x l e y

FAIR GAME GAME  Elmsley ♦ Solomon ♦ Bann  Bannon on ♦ Blor  Blorn n berg berg ♦ Rose  Rose  The magician an suggest gests s the fair fairest est game of poker poker ever ever play played ed.. The parti particip cipant ant shuffles, cuts, and deals the cards. Furthermore, with only ten cards in play, the participant decides which five cards he keeps and which five go to the wizard. Defying all expectations, the opponent winds up with a powerful hand, but the magician proves he predicted the exact hand his participant would choose. Then, beyond all imaginable odds and despite every precautionary measure, the conjuror is somehow left with a hand that indubitably wins the game.

Heres an effect IVe been playing with ever since I read Dave Solomons wonderful uRevised Mexican Poker.w* * That routine was an elaboration or (depending on your point of view) a simpMcation of the routine “Power Poker 55  by Alex Elmsley.1" It was certainly easier than Elmsleys original, which relied on a series of bottom deals. Instead, Solomon relied on a selection  procedure by Bill Simon^ and some added layers of deception by John Bannon and Tomas Blomberg. Later, the routine was embellished further in John Bannons uThe Power of Poker,， ， §  which truly made it aa nearly perfect selfworking trick/5 IVe played with the scheme in many of its other guises, too, but I never liked how much it felt like a packet trick. The routine that follows allows the  performer to begin with a full deck and work down naturally to the ten required cards. Furthermore, in an attempt to mimic gambling protocol, this

 MAGIC  * David Solomon, ^Revised Mexican Poker,5, MAGIC   magazine (August 1999), pp. 76 & 77.

t Alex Elmsley, Alex Is AtIt Again Again (1997), p. 2. t  Bill  Mathematic maticMagi Magicc (1964), pp. 178-83.  Bill Simon, wTlie Four Queens/5 Mathe

§ John Bannon, Dear Mr Mr.. Fanta Fantasy (2004), pp. 189-97. * As Armando Lucero’s teaches, “When they expect something, give them nothing.”

141

Fa ir   Ga me Th e  Do o r s

o f  De c e p t i o n

• Three cards for you (10S, JS, JS, QS) version adopts the same procedure found in Blombergs variation, in which the  participant chooses back and forth, one for him, then one for you, etc . While the earlier versions end with the magician receiving either a straight flush or a royal flush, the one on offer here does not; this is one of its unique  benefits. In “Fair Game” you control not only the exact hand your participant will choose for himself, but you will also control the exact hand he chooses for you. You will always wind up with a royal flush. It was longtime friend and

• Three cards for him (5H, 8C, 5D) • One for you (KS) • One for him (8H) • One more for you (AS) • Last for him (8 D)

creative magician Christopher James Rose who first suggested that this desirable specificity could be achieved, and he was also the one who helped me work out the first solution for the stacks array. Ive also choreographed the ending here so that the spectator’s final “choice” is easily forced; it happens logically and naturally because all the incentive is openly seen. Theres also a precarious point that seems to have gone unnoticed in similar routines. One iteration of the spectators choices produces a face-up three-of-akind along with a face-down hole card. At this point, with one card left for the  both of you, if there is no reason for him to prefer either card (because neither will obviously improve his hand), he may decide to take the one thats crucial to complete your royal flush. I have a stack and procedure that, by splitting his three-of-a-kind, will produce a choice between either a card that visibly gives him an extra pair (obviously improving his hand) or one that does not help

Keep in mind that this ten-card stack is not the final order; you will later have these cards dealt and mixed further.  Notice, too, that the cards are in a pattern thats quite easy to remember.

him at all. Although not crucial, note that his hand, while having a mix of suits, contains no Spades, thus assuring some contrast between the two cards (color,

Your cards are in ascending order with his selections interspersed in two ccsets55; there's an Eight sandwiched between two Fives in the first set and a pair of

suit, and three out of five times, there will" be a number/picture card

Eights in the second set. Also, in each red pair, Hearts come before Diamonds,

differentiation as wfell), which will help add to the appeal during his final choice.

and the first card is a Five (the lower of the two values).

Having performed some version of this for nearly twenty years, its inevitable that other friends have thrown in their priceless two cents as well.

Another thing to keep in mind is that the audience may have chosen one of these stacked cards earlier for “The Mind-Melding Magician!”；  so it is

Along the way this routine has become an amalgamation of bits, ideas, lines,

imperative, if youre looking at the big picture here, that the cards comprising

and touches. From the bottom of my heart, thanks to all my colleagues who

 both hands do adhere to an order thats easily recalled. If one of the stacked

over the years have shared their insights and expertise with me. Without every linle

cards has been chosen in the earlier effect, it is very easy to get everything back

touch included here, this version would surely be lacking in one way or another.

into position. With the faces toward you, fan through the cards and cut the out-of-sequence card to the face. Fan again and secure a break above the correct position. Slip cut the face card onto those below the break. Spread until

Se t u p

you see the stack and finish by cutting it to the top. You will use a text message for the prediction, bringing the trick into a

The method described below can be used to produce any desired hands, but

modern context. When I send the message, I often do a line at the top reading

here you will be using three Eights and two Fives for the cards of the

something like, “You are not going to believe this ...” I hit “return” five or six

 participants hand, and a royal flush in Spades, for your hand. From the top

times and continue: w  First, you re looking at Two Pair . .

down, the ten cards are stacked as follows:

handful more times and add,

142

C£Second,

Then I hit 'return5 a

turn over your Eight . . Again, I hit

143

Th e  Do o r s

o f  De c e p t i o n

'return55  a half dozen times or so and finish with, K And, finally, add it to your Full House.”*

Fa ir   Ga me

To paste, go back to Messages, tap the box in the upper right corner to  begin a new message; then hold your finger in the message box for the Paste

The reason for the spaces between each line is to ensure that the entire  prediction isnt visible on the screen when they first open the application. The returns here will help stagger the revelations, too, by helping to delay each part. It will end up looking something like this:

option. Now all you 11 have to do is add the participants number. To proposition the mark, you will also need a bill for the wager; if youre following the presentation in full here, simply ask for the bill used earlier that s  been left out from “Thou Shalt Not Steal.”

You are not going to believe this ...

First, you re looking at Two Pair ...

In the overall act, youVe just finished with the cloth and pin and have replaced these into the breast pocket, or youve just vanished the coins. Also, before you started uThe Phantom Returns,w  you had asked a gentleman to examine the

Second, turn over the Eight...

cards. They should now be on the table with the stack in the center somewhere. As you display the pack, move the ten-card stack to the top with a simple triple-cut action. Take the cards face-up in the left hand and run the right

And, finally, add it to your Full House!

thumb up the inner-left corner until it clicks just past the Ten of Spades. Cut In performance, these words will be copied, pasted, and sent in the time that it takes to go through the forthcoming and preliminary cutting and shuffling aspect of the routine.

the Ten to the face and obtain a break below it. Continue with a double undercut, moving the ten to the bottom. Turn the deck face down. The stack is now in position on top.

If using an iPhone (as I do), prepare ahead of time as follows: Me t h o d & Pr e s en en t a t i o n

• Launch Notes from the home screen. • Tap on New Folder 

Give the deck a standard false overhand shuffle that preserves the top stock by

• Tap on On My Phone

undercutting about half the deck, in-jogging the original top card, and shuffling off.

• Enter the New Folder name “Fair Game” and tap Save

At the same time, say:

• Under Folders tap on Fair Game • Tap the box in the bottom right corner and type the message as above. • When finished tap on Done Done

Would you mind helping me?  Ah, great great!! And your your nam name? e?

To send the message in performance, copy it by going back to Notes, tap

 Hi,  Hi, Lar Larry. ry. Are Are you you a gam gamble bler? r?

on Fair Game, open the note, tap once in the body followed by a quick double tap, and choose the Select All option.

.

 Do you know know how how to shuffl shuffle? e?

Once finished, push down from above on the in-jogged card with the right * This can be an especially effective and low-key way to get someones number youll have need of in the future.

144

thumb, forming a break above it.

145

Th e  Do o r s

o f  De c e p t i o n

Fa ir   Ga me

 Actual  Actually, ly, to kee keep p it fair, fair, well well start start out out with with baby baby steps steps.. I  should’ve first asked if you know how to cut the cards.

Suiting actions to words, cut the upper portion to the table, foilowed by the

Once he finishes the shuffle, have him square the cards and hold them in dealing position again.  Now take take half half of what's what's there there and and plac placee them themhere. here.

rest, bringing the stack back to its original position. Moving from his left to right, point to a spot directly in front of him and have him table the next packet, creating what will be the middle pile.

Nacar ’s  Ho l d o u t  Sequence Hand your participant the pack, and take out your phone to send the message described above. Here we are going to lead the participant through a series of

Once hes finished, point to the cards remaining in his hand and say:  Now shuff shuffle le t h os e .. .

cuts, creating three piles in front of him. When he finishes shuffling, designate a final spot on his right, next to the  Here,  Here, Larry, Larry, let me see you hold hold them them as if you were were gettin getting g

two other packets and say:

ready for a game. Good! That's actually the first step: holding the . . . A n d when you re done,put them here, Larry. Larry. This This is the the

 pack.  pack.

 faires  fairestt cut cut in gambl gambling ing,, the the triple triple tabled tabled cut. cut.

Continue: By now you should be done copying and pasting the message: Starting off easy then, take take less than half and put them he r e . . .  Larr  Larry, y, pleas pleasee tell tell me your your number number.. I want want to send send you you somet somethin hing g

Assuming hes holding the deck in his left hand,* point to a spot on his left and have him cut a small packet to that position on the

to see here in a moment.

table.1' Input his phone number, then point to the packet on his left.

Great! Now lift about half of what’s in your hands and let’s see  you cut them them to the botto bottom. m.

Can you please take that pile pile and put it on the pile pile here in the the center?

To guide him, mime the actions of taking the top half to the bottom. Point to the combined packet and then to the one on his far right, saying: You’re pretty good, Larry! Let me see you shuffle those cards. Perfect. And next, take all of those and place them on top of 

Referring to the ones he’s holding, mime the overhand shuffle you

these.

 performed a moment ago.  If you were were play playing ing the faires fairestt game game of cards cards you ve ever ever played played,, * If hes holding the deck in his right hand, reverse the directions accordingly. t By the way, you should never ask your participant to <(cut about a third of the pack." Chances are he doesnt know how big one-third of the deck is, and it becomes dead time while he looks dazed and confused until you explain further. Remember: ten out of nine people dont understand fractions.

 you’d  you’d want want to to shuffl shufflee and and cut, cut, right? right? Well, I appreciate your help so far. Let’s give Larry a big round  of applause!

146 147

Th e  Do o r s

Fa ir   Ga me

o f  De c e p t i o n

YouVe just led our helper through a modified version of what has become known as Oses False Cut.* This elaborated sequence, with the interjected shuffles, was devised by my dear friend Dr. Alpen NacarJ This specific variant has a much wider application and can be used in many effects. Although the  participant cuts and then shuffles, we will throughout refer to the cards being first shuffled, then cut as per gaming custom. At this point, send the text-message prediction, giving the cut some time misdirection.

What you want to remember here, since we have a stack to deal with, is that you dont want the cards mixed unwittingly. So, as quickly and casually as you possibly can, take the five-card packet in front of your participant and  place it on top of yours without disturbing their order (i.e., 8D, 8H, 5D, 5H, JS, AS, KS, 8C,QS, 10S).  I said said this this would would be the faire fairest st game game you’ve you’ve ever ever played played.. You You shuffled. You cut. Youve dealt the cards, but Im also going to take it further than that. Out of these ten cards you get to decide which ones you’d you’d like to keep， and whatever cards cards you

Fve just sent something to you, Larry. I dont want you to read 

dont want, well discard and 11 end up playing with those.

what)s there now， but you will verify exactly what what it says later.

 How fair fair is that? that? Hones Honestly tly,, I dont dont think think there there is any way way to be

 I’ll  I’ll let you know know that that it says says three three speci specific fic thing thingss about about what’s what’s

any fairer!

going to transpire.  But there’ there’ss more. more. If we are are talkin talking g about about the fairest fairest game game you’ve you’ve

As you say this, bring the ten cards into the required order by running three

ever played, you would not only want to shuffle and cut. If we

and throwing the rest on top; run three again and throw the rest on top; finally,

are attempting the fairest game you’ve ever played, and I did 

run five and throw the remainder on top.

this last part, you’d think that’s when I did the sneaky stuff. I 

The order now is two of his, two of yours, two of his, two of yours, followed by one of his and, lastly, one of yours (i.e., 8H, 8D, AS, JS, 5H, 5D,

mean’ you’ve heard of people double dealing! So, not only should 

10S, QS, 8C, KS).

 youshuffl shufflee and and cut; cut; you you shoul should d prob probabl ablyy deal deal,, as well, well, yes? yes?

What

 I think think so, too. So, So, deal deal us a round round of poker. poker. That's That's one card to

11 do is let you pick one one for yourself; then then you can

choose one for me, okay?

me, then one card to you—back and forth until we both have  jive  jive car cards. ds.

Whichever one you dont want will go back into the pile.  Howfair fair is is that  that   y Larry?

11

 place  place the rest rest of these these on it so that that its back back in the roste rosterr and  can> possibly, be picked on another round. And   y  for an incentive, I’ll put down this bill.

You shuffled, you cut, and you dealt. How could it be any  fairer  fairer? ?

Introduce (or, if you re following the entire act, reintroduce) the bill for the wager, downplaying your chances of winning:

Ten cards here now; Even if I wanted to cheat, I couldn’t!

You, Larry, make all the choices. You dont have to wager  anything; Im just doing this for fun and as a personal challenge * Cf.  Conradi-Horster,

Roberto Giobbi,

aA

MFalsches

Mischen,,>  Der moder moderne ne Karten Kartenkii kiinstle nstler   (1896), p. 19; see also Triple False Cut, ,J Card College, Vol. 1 (1996), p. 60.

卞  Benjamin Earl, “Spectator’s Shuffle Holdout， ”

(October 2010)  p. 15. 厶 z>， Issue 2 (October

Deal the top two cards to the table (8H and 8D, splitting his three-of-a-

，

 As the pack is set aside, youll notice the marked Nine of Spades is on top now, letting you know t  As everything's going according to plan.

148

to myself.

kind for later).

Th e  Do o r s

Fa ir   Ga me

o f  De c e p t i o n

 Now,  Now, try not to let me influe influence nce you. you. This This shoul should d be your your free free decision. Which one do you want in your hand to play with?

Take the talon and deal the top two cards to the table, letting the  participant decide on the ne xt card for his hand.

 Are you sure, sure,Larry? Larry?

 Anothe  Anotherr for for you. you. Whic Which h one one do youwant want for for your your hand? hand?

 I just just dont dont want want you you to accuse accuse me of not playin playing g fair fair..

 It’s  It’s your your decisi decision. on.Don’t Don’t let me influe influence nce you! you!

To keep the picture as clear as possible, I think it s best to drop all the cards

Once hes made his choice, place those youre holding on top of the

youre holding onto whichever card is not chosen; only then should you move

unchosen card. Slide his chosen card slightly toward him and then turn it face

the one he has selected to a position in front of him.

up, saying:

In every round, whatever card is not selected will always go to the bottom Oh, starting out with a Five. Not bad, Larry.

of the packet proper. This first card of his will remain face down throughout (as will every single one of your cards). This is to bolster the predictions power. As you will see, it

Deal the next two and have one chosen for you.

would make little theatrical sense to have his entire hand openly displayed and

Heres a great touch contributed by my extremely funny friend, Stephen

then have the prediction read. Its far better to have it read and then have the

Bargatze. As youre setting this second card alongside the one previously chosen

last card turned to show the forecast is accurate. Once the desired card is in

for you, act as if youre going to turn it face up (as you just did with his second

front of him, ask:

card), but first lift the corners of both cards to peek at them. Feign concern and  proclaim:

 Is there there any way I coul could d know know what what car card d you you have have righ rightt now? now? т just goingto leave these these there, face face down, because because I may  It would would be a hum humong ongous ousadvant advantage age if I did. did. We’ll We’ll just just leav leavee it  it 

need to switch them later.

 face  face down down fora mom moment ent;; tha that’s t’s called called your/h your/hole ole card. card.

Pure genius! With humor, this will give us just enough heat on these cards Take the talon and deal the next two.

now so that later the audience will be certain they were not substituted. Just before the participants third decision (and fourth decision, as you will

 Now decide decide which which of these these you’d you’d like like for for me to have have

see below), you will need to execute the only sleight (if you can even call it that!) remaining in the routine. Push over three cards and contact the face of

Again, place the rest of the cards youre holding onto the one not chosen.

the third card with your right fingertips. Steal the third card from under the

This time, slide the one he has chosen toward yourself, thus beginning your

second as you place it to the table along with the top card. It should look as if

hand.

you have merely taken the top two cards together and placed them onto the table. Even though youre not dealing the two cards to the table one at a time, So this one’s for me. For whatever reason, you’ve chosen this one, and so now it’s one I’ll have to play with. Any reason why you  picked  picked it?

.

no one will notice this change in procedure. Heres another slight diversion from the way things have unfolded so far. This idea comes from the aforementioned Christopher James Rose. Two cards are on the table, and one of them is apparently about to be chosen. Before the

 Maybe  Maybe it just just didn didn't 't feel feel righ right? t? Who Who know knows? s?

 participant can react , point to his previous selection (a fac e-up card) and say:

151

Th e  Do o r s

Fa ir   Ga me

o f  De c e p t i o n

This, as you’ll see, will also add to the “push” later in the final decision， as this referenced card will again, in our moment of need, rear its needed head.

 If you like like youcan give give me me back back the Five Five you you have have and and take take both of these cards I’ve just dealt. It doesn’t matter to me.

This is a wonderful ploy; it makes no difference which two cards out of the three he winds up with. If he decides to take the two face-down cards and reject his face-up Five, turn the Five down and place it on the bottom of the  packet proper; then turn the two chosen cards face up onto his face-down hole card. (This is the only time the packet is not dropped onto the reject, which technically departs from the clean procedure; however, it feels congruent, and that s all that matters here.) If the participant does decide to switch here, they will give up a Five for a pair of Eights; if they switch, definitely mention the upgrade. If, however, he decides to keep his Five and select only one of the face down cards, follow the usual procedure by dropping your main packet onto the rejected card; then turn his selection face up onto the Five. The next two cards are dealt (one at a time) and one of them, as before, is “discarded” to be placed in your hand, while the other goes to the bonom. As stated, for the decision of his fourth card, youll repeat the did for his previous selection, transposing the second and third cards in the  process of dealing them to the table as if they were the first and second cards.

At this point, no matter what decisions he has made, his hand will be comprised of a face-down hole card (a yet unknown Eight) and three face-up cards (either a pair of Eights with an unmatched Five or a pair of Fives with a seemingly unmatched Eight). Before the upcoming final moment, its best to separate his paired cards from the odd-card-out; this way, when his last choice is made, it will be  blatantly obvious which card will complete a pair. Continue by dealing two and have one chosen for your hand and the other placed to the bottom. Two cards remain.  I’ve  I’ve been been as fair fair as as I can can,, haven’t haven’t I? Did youshuffl shufflee the the cards cards  Larr  Larry? y?

Yes, you did. Did you cut?

K sleightn  you

If he didnt take the offer of both face-down cards before, you have the option here to similarly vary the selection process:

Yes, that too. Didn’t you you also deal? You know, Im wondering why you even need me here. No, seriously, there are two cards left, and I said I wanted to offer   you the faires fairestt game game you’ve you’ve ever ever played played.. I think think it’s it’s been been pretty pretty

Would you want to trade either the Five or the Eight you have showing for the two unknown I just dealt?

good so far. You’ve made all the decisions. You’ve decided which ones youd like to play with and, not only that, youve also decided which cards I’d have for myself.

or, of course:  Here  Here at the end, end, to keep it as fair fair as I can, can, what what if we turn these these  As befor before, e, if you wish, wish, you cantake take one one of these. these.Youdecide decide..

Again, whatever card is rejected goes to the bottom. If, here, he has decided to take both tabled cards notice that you can remark on the incoming and outgoing pair: Well, look at that, now you’ve got a pair of Fives, and an Eight. Too bad, if only you’d have been able to keep that other   Eight.  Eight. . *

last two cards face up? This way we all see what they are and we can all see if either one will make your hand better. If there is one that does make your hand better well let you keep it. How does that sound? If you think I can be any fairer, please let me know.

 Notice the change of language here. During his previous selections, the  presentation highlighted “you”； now there is ал emphasis on “we.” Begin to turn cards face up, but the moment you have glimpsed their identities, show surprise and leave them face down. Pause as if you are weighing an unforeseen and detrimental outcome; then, snap back to it, totally  blowing off what youve just stated by saying:

Or vice versa.

152

153

Fa

Th e  Do o r s

ir   G a me

o f  De c e pt pt io n

So, I get to decide which one of these you get to look at  } okay?

Take the card that will end up in your hand and turn it face up first. I like to place it right on top of the other, as if it s a block or shield to the other card.

nirning Ae last card gives you so much casualness, freedom, and indifference ђеге at at the end. Just deal with it as if you ve come to terms with your own defeat. On a scale from one to ten y  how would you rate this as far as being the fairest game you’ve ever played? From my perspective  I’d  I’d say say it’s it’s an elev eleven en and that that I>ve I>ve deli delive vere red d on on thi thiss promi promise se..

 And  And I thin thinkk you you want want this this one.  Did  Did you you shuf shuffl fle? e?

Hesitate with the second card until he insists that you said you'd show him  both cards. Holding back like this will ease your participant into his “choice”  because it seems you’ve realized that you’re facing an unanticipated  predicament. Having them fight with you a little bit can be fun:  Did  Did I say say that that? ? Why would I say you could see both?

 Did  Did you cut? cut?  Did  Did you you deal deal? ?  Did  Did you you make make all all the the choi choice ces? s?  And  And eve every ry deci decisi sion on was was yours? ours?

 How fair fair would wouldthat that be? be?  It woul would d be impos impossi sibl blee to be fair fairer er,, but let’ let’ss not forg forget et that  that  Okay, Okay, maybe maybe I did say i t . . .

After a moment, concede and turn the other card over, too. ГН also buffer this by asking if there are any other poker players players in the room and have them consider the situation, asking:  I know it’s it’s a dif diffi ficu cult lt choi choice ce,, but but if you you wer weree him him whatwoul would  d   you  you choos choose? e?

earlier I said Fd have something for you. What if, after all this,  I kne knew w the card card you you hav havee down down there? re? Tha That’s t’sthe the “hole “hole card card.” .” Fortunes Fortunes are won won and lost on that one one card. And， And， т sure you can see the advantage that a player would have if he knew that  one card. It could be tremendous. What ify though, I knew what that card would be before we even started? Remember I said I was interested in controlling  peop  people le’s ’s thou thought ghts, s, deci decisi sions ons and possi possibl blyy

Because these others have zero stake in the game and youre asking for their expertise in front of everyone, it is much less likely they will try to mess with you. Well, Larry, I think it's pretty obvious to all of us which one you  get.

Take the needed card and place it with its companion, complementing his hand with a second pair. Youre not going to even offer him a choice on this last card and give him an opportunity to ruin the effect. Its better to paint the elephant pink and stress the obvious improvement of his hand. His inevitable open pairs combined with the uwe55  language and your feigned trepidation in

154

even even thei theirr

physica sicall

actions? What if all of this was under my control? What if I  knew how you would shuffle the cards and exactly where you d  cut them? Then I’d know the cards you’ve dealt, but what if I  also controlled all of these choices? Well, then I’d know exactly what cards youd be holding right now; I would already know what your second, third, and fourth cards might be, too. But  that would be impossible, Larry. And, by the way, Ive already told you the prediction I texted to you has only three specific statements. Remember? You didn’t forget about that, did you? Can you read it out loud, please? What does just the first line say?

155

Th e  D o o r s

F a ir   G a

o f  D e c e p t i o n

me

Then begin to reveal your cards, dealing them one at a time slowly to the

You re not going to believe this. Okay, keep going.

table.  Holy shit! And And ther theree are are two two pai pair, r, too! too! What What else else does it say? say?  Mayb  Maybee you you can can tell tell m e. .. Is this this a good good hand? hand? I do have a Ten Ten  } Turn over over an Ac e ? . . . No, an Eight! Eight! Go Go ahead, turn it over for  for 

a Jack, a Queen, a King, and the Ace of Spades!

us. Let's see!

Openly take the money and hold it aloft, exclaiming,

There’s one more thing to read, please.

 I guess guess that that deci decide dess who keep keepss this. his. Thank Thankss for for play playin ing, g, Larry Larry!!

Reiterate what hes just read:  A full full house house..

 Af t er t hought s

Everyone can see that your prediction is entirely correct. As everyone is reacting to this, slowly and nonchalantly start to sneak your hand toward the money and act as if youre trying to steal it away without anyone noticing, although they will.  Damn  Damn,, ther theree are are only only a few few hands hands that that can can beat beat that that.. Mayb Maybee  just  just one ... ... Or is it two? two? Yours Yours is about about the the best best hand hand you you can can get.

If anyone in the audience wants to chime in and suggest other good hands or possible winning combinations, let them.

You can wager anything you want, really. There may be performances where it would be best to offer a one-hundred-dollar bill to increase your perceived value; however, Ггп also fond of the way John Bannon deals with it by using  just one dollar: Ггп going to give you a chance to win this dollar bill. We5ll play a game of stud poker. In this game, however, you get to make all the choices of who gets which cards. If you get a winning hand, you get the dollar. If I get the winning hand, I get to keep it. I know a dollar isnt a lot of money. The reason Ггп only oflFering a dollar is because, to be honest, most of the time I lose. You see, since you get to make all of the choices, you get ten chances to completely screw up the trick. If I havent anticipated every one of those choices perfectly—the trick wont work and I lose that dollar.*

Well at least I was fair, right? I mean, you you shuffled， you cut, you

Anything can work: any amount of money, any valuable item. IVe used my

dealt the cards yourself; then you made every decision for the

car keys, my watch, an antique coin . . . The point is to create some emotional investment and motivation for the proceedings, and money especially seems to do the trick.

cards you wanted. Hell, you even decided on the cards т

stuck 

with!

Reach for your hand.  May  May I?

Here you will employ a line from master magician Eugene Burger. As you turn the cards to see their identities, sigh and then mumble to yourself, dejected:  I dont donteven even have a pai pair. r.

Another thing to consider, of course, is that the spectator you have asked to examine the cards might drop them all over the floor or decide to give them a shuffle. Only time in the trenches will teach you the required audience management skills to help prevent such things from happening. Without the

 Dear Mr. Mr. Fantas antasy (2004), p. 189. * John Bannon, Dear

157

Th e  Do o r s

o f  De c e p t i o n

I tell you: one must have chaos ... to give birth to a dancing star.

 performance experience, its hard to know how far to push ones luck or when it s best to back away. To eliminate as much resistance as possible, I use the phrase ctCan I be more fair?w  Quite often, ГП embellish this further with things like, UI know what youre thinking: cIVe seen magic ... on TV! And if I was there, if /was there, Гс1 know exactly what this character is up to.5 Well youre here now. If you want to kick the tires on the car, take it for a ride around the block, honk the horn . . . Well, youre here now, and if you think there is a way I can be any more fair, all you have to do is let me know.,J It takes a certain nonchalance to let someone handle the pack in this trick and others like it. You just have to allow your attention to move away and put the focus of the show elsewhere. Indeed, you really must not care if he mixes them. Only this kind of attitude will keep your examining spectator from getting carried away; its not a one-hundred-percent guarantee, but its close. And even if this butterfingers drops the cards or his blackened heart makes him shuffle, you simply discard wFair Game55  and move smoothly to our next attraction as if everything is going according to plan.

一

Fr

i ed ed r i c h  Wi l h e l m Ni e t z s c h e

THE UNEXPECT UNEXPEC TED WILD CA C ARD Vernon ♦ Mario  Mario ♦ Hofzin  Hofzinser  ser  ♦ Karte ♦ Wonder  A participant selects a card under the fairest conditions, and the magician produces a pocketful of perfect predictions. Offering to repeat the effect, the magician has another card selected, but it fails to match the pile of prediction cards. Unfazed, fhe miracle worker takes each prediction card one at a time and transforms it to match the second selection.

This is a hybrid of Marios ''Unexpected Predictionw* and Peter Kanes aWild Card.5， t  As you will see, one trick dovetails perfectly into the other, creating a truly unexpected miracle with the pasteboards. IVe seen magicians and their  jaded spouses born again into the cult of magic after witnessing this combination of effects. Lay audiences dont stand a chance.

Me t h o d & Pr

e s en en t a t io io n

You can begin by adding the cards from “Fair Game” back back to the deck， but I dont recommend this. If you dont add them back, a whole quarter of the deck will now be out of play: the three cards from the monte routine and the ten cards from the poker dealThis, you will see, is a situation you can take advantage of. For this “explanatory” interlude you will be using all the Nines of Spades you have at your disposal: the one in the pack (which has been marked with

* Alton Sharp, ''Unexpected Prediction,,5 Exper  Expert Card ard Conjuring uring (1968), p. 88. t Peter Kane, M Watch the Ace! >, Hugar  Vol XIX, No. 8 (April 1962), p. 89.  Hugard's Magic MagicMonth Monthly, Vol I Technically, the odd-backed card is also set aside, but that doesnt count here.

159

Th e  Do o r s

Th e  Un e x p e c t e d   W  Wil d  Ca r d 

o f  De c e p t i o n

little lines at the outer left and inner right borders), as well as the pocketful of duplicates in your right side jacket pocket and the Wild Card set in your outer

So, here’s where things can get really crazy, but only if you want  them to.

left side jacket pocket. Again, keep in mind, you may have arrived here because something

Tap the outside of your right pocket and say:

unforeseen caused your “Fair Game” stack to be destroyed. In this case, “The Mind-Melding Magician!55  will have been your last card trick, and you will be

 Im alrea already dy comm committ itted. ed. It's up up to you, you, Mich Michael ael.. Do youwant want to to

returning to the deck following “The Phantom Returns” or “Copper/Brass/

give it a try?

Silver.M  Notice how the transitional scripting works for either contingency by coming back to and referencing the previously generated card or the ten cards

 As  he shuffles, note which of his hands is dominant.* Take back the deck

 just used for poker hands, as well as the set-aside odd-backed selection:

and glimpse the top and bottom cards (as in the original explanation of

So, do you want to know why we ended up with the Four of 

Vernon’s “The Trick That Cannot Be Explained”卞).I recommend executing this  peek while extending your left hand to retrieve the pack from someone or

 Diam  Diamond onds?'  s?' 

when lifting the deck off   the table. Briefly, grab the deck by the sides with the left fingers on top and thumb underneath, levering it up into the left hand. As

or 

youre picking up the pack, let the top card(s) adhere to the left forefinger; the ... these ten cards here?

actions of lifting and moving the deck will cause the top card to slide minutely over the long edge of the pack. In this slightly tilted position, its a simple matter to glimpse the top and face cards of the pack.

 Andeven even tha thatt blue blue one, one, the the Three Three of Spade Spades? s?  It’s  It’s becaus becausee of the inexpl inexplica icable ble truth truth that that if I want want someone eon — e anyone—to

take

a

particular

card,

they

will.

Its

just

a

mysterious and magical fact.

Ask for a spectator who is a proficient shuffler to thoroughly mix the pack while you continue to introduce the next effect.  Do yougamble gamble,, too too? ? Wanna lose? т just kidding! Whafsyour Whafsyour name? name?

If you see the target card (in this case, the Nine of Spades), you 11 have no need for what follows; simply continue to the forthcoming explanation of this sections finale and reveal the Nine of Spades^ If, as the odds will probably

 Hi, Micha Michael. el.  Befor  Beforee we we star started, ted, Iplaced placed one card~ card~and andonly only one one card— card—her heree

have it, the target is not at either of these two positions, spread the pack face down on the table and quickly ascertain the Nines whereabouts by finding the mark on its exposed corner.

in my pocket as a target.

Gesture toward your right jacket pocket.

* This can be useful information later if/when they get to Possibility 3 below, t Lewis Ganson,

(1%0), p. 76.

$ “Unexpected Prediction.” The selection generated in “The Mind-Melding Magician!”

160

161

Th e  Do o r s

o f  De c e p t i o n

Th e  Un e x p e c t e d   W  Wil d  Ca r d 

aThe Moving Pencil/** but it allows for more leeway and throws more shade on what is actually taking placed 

Using  Equivoque in  "T  "The  Tr ic k  Tha t  Cannot  Be  Expl ained" Here are some approaches I have used for Vernons classic improvised effect. Of course, there are many paths that one might favor when engaging with UTTTCBE.},  Notice how these keep to the poker theme just played out in the  previous routine. First try to determine whether the target card is among the top or bottom five cards. If so, simply have your participant take the pack face down or face up and deal a poker hand (i.e., five cards) to the table. If you dont see the target among the top or bottom five, look to see if it lies among the top or bottom ten. If you find that it does, gather the spread and hand the participant the deck (either face up or face down, depending) and have him deal two poker hands. If the deck is face down, use the mark to determine in which pile of five cards the target falls; of course, if the deck is face up, theres no problem in making that determination. Have him place one hand on each pile and lift either hand. Using Magicians Choice, simply discard the packet that does not contain the target card. If the card is not in the top or bottom ten, Fm fond of using a concept from the late Bro. John Hamman. Make a fist with your right hand and extend your first and second fingers, adopting the posture of the old uWalking Fingers” logo from the “Yellow Pages.”

A St ep  Ahead  Michae  Michael, l, take take you yourr five five cards cards and mix them them  As  the preceding process is unfolding, use this chance to cut the face-down deck at the corner-shortened card, bringing it (the Queen of Hearts) to the top. Once the Queen is on top, the four cards that will be eliminated in the upcoming scenarios can be added to the top of the deck, which is perfect

 because the Queen will then be in the exact position required for its upcoming Hofzinser force.

 The  Five -Car d  Fo r c e Set the pack aside and ask him to hand you the five cards hes just shuffled. The following procedure comes from my magical friend and confidant Christopher James Rose. I have made a few slight modifications to retain a consistency  between effects, but you 11 still be able to see how his insights take a few age-old  ploys to beautiful new heights. While remaining conversational in tone, your focus now is to get a direct hit. You will have three opportunities before youll need to resort to equivocation.

P ossibil ossibil ity  1 ：  Name One Fan the five cards out to display their faces to the participant and say: Tilt your hand so that the extended fingers are parallel to the table, and

 Befor  Beforee we we go go any furthe furtherr if I were were just just to to ask ask you to name name one one

 begin to wiggle them back and forth* as you briskly move your arm from one end of the spread to the other. Once youve made a few passes over the spread, tell the participant to say, £  When he makes the call, bring your hand down so that it falls on a group of five cards that contains the marked target. With this gambit, you dont need it to come down on a specific card—-just a section that contains the Nine of Spades. This technique is related to the old  * This movement of the fingers disguises the fact that your hand is covering a much wider range than realized, or which would be accommodated by using a single extended finger.

of these cards, what would you say^

* Harry Lorayne, Close-up Card Magic (1962), p. 158. Optionally, you can simplify this by noting whether the target card is in the bottom or top half and merely have the participant cut the pack. Then remove the half that does not contain the target and proceed as above. t

t If you have performed “Fair Game,” you can refer to these five cards as “your poker hand.”

Th e  Do o r s

Th e  Un e x p e c t e d   W  Wil d  Ca r d 

o f  De c e p t i o n

If we pretend for a moment that human beings make random decisions,

Again, his response could be a direct hit, and if it is you should ask:

there is a twenty percent chance that the participant will name the target Nine of Spades. If he does, you have a miracle on your hands. All you need to do is

What does that funny feeling feel like?

 place the other four on top of the deck (again, covering the Queen of Hearts), and proceed accordingly.

 And none none of of thes thesee othe otherr cards cards feel feel like like that? that?

If his response misses the bullseye, immediately respond: To conclude, place the other four cards on top of the pack (directly on top The Ace of Clubs. Now that is exactly the same card I would 

of the Queen of Hearts) and say:

have said. Do you know why?  I wonder wonderwhy. why. Yet, Yet, perh perhaps aps,, Ik n ow . ..

Regardless of his answer, you will justify the choice by remarking on the cards position:

Should he miss again, however, continue:

 Becaus  Becausee it happen happenss to be in a psych psycholo ologic gicall allyy sugges suggestib tible le positi position, on, right here...

The Two of Hearts. Okay, perfect. Were going to get rid of that, because I don’t want this to be influenced by your psychology; I 

Of course, how you finish this sentence will depend on the named cards

want you to be influenced by mine.

actual position in the fan: Place this discard on top of the pack. ... on the face. ... in the dead center. ... .in this middle spot.

 Let me mix mix them them up really really well. well.

When you finish shuffling the four remaining cards, deal them face down in a row on the table in front of the participant. If youve noted earlier which

or

hand he mostly used while shuffling, cutting, and handing the deck back to .. .h id de n last last,, at the the back back..

you, its pretty safe to assume that this is his dominant hand; this means you can lay the cards out in a psychologically advantageous order. Specifically, the

Close the spread, and begin to overhand shuffle the small packet of cards as you say:

target card should not go on one of the ends (which are usually rejected), but rather in whichever inside position is closest to this dominant hand.*

 But the truth truth is I have have a differ different ent quest question ion to ask ask you. you.

P o s s i b ilil i t y  3：  To u c h  One P oss ibility ibility  2：  A F unny Feeling

 Hold  Hold both both hands hands above above the cards cards . . . and, with either hand, touc touch h on e. ..

Spread the cards into a fan and display their faces to the participant again.  And that that is, is, do you have have a funny funny feelin feeling g about about one one of these these cards? Dont worry about the order, but do you have a funny  feelin  feeling g abou aboutt any any of them? them?

* As there s a 70-95% chance of someone being right-handed youll mostly be putting the selection at position 3, if counting 1-4 (from their left to right).

165

Th e  Do o r s

p e c t e d   W Th e  Un e x pe Wil d  Ca r

o f  De c e pt pt io n

d 

my game. There are two players, two pieces, and one move. And 

Here, of course, could be another hit; if so, have him gather the remaining cards with his free hand, and then discard them to the top of the deck accordingly. Otherwise, if the target card is not selected here, point to his free hand and immediately continue with:

the move is yours.

When I snap my fingers, Michael, I want you to hand me one card, and only one card.

. . . a n d , of course course,, touch touch another. another.

Snap! If this option is needed, you dont want it to seem like one thing was asked then another, but that it is one ceaseless request. If it appears that youve made a decision because of his last action, the situation could be compromised. So,  be sure to maintain the flow. At this point, some different contingencies can present themselves depending on whether the second touched card is the one you need or not. In any case, with two of the four cards signified, say:

 A. Giv e

Lets say he hands you the target card, the Nine of Spades. So, this is the card you want to give me?  Do you want want to to cha change nge your your mind? mind?

 Do you want want to to cha change nge your your mind? mind?  No ?. ..

Because your audience has no idea where you are going, either answer can  be interpreted in the same way simply by removing the two unneeded cards. Since the cards have remained face down throughout this part of the process, very little heat will be on this action. You dont need to say much, either; just discard the pair that does not include your target to the top of the pack as if this is the way it always happens. But first turn them both face up and gesture to the two remaining  to say: ；

Only two mysteries remain. Please pick them both up.

P oss ibilities ibilities  4 & 5：  Give o r  K eep eep

Immediately take his card away and, as youre placing it to the top with the other discards, ask: There is nothing I can say to make you change your mind and  give me that card?

Finish by placing it onto the top of the pack, cementing its departure with the rest and say: Okay then, let’s see, what card did you give me? The Nine of  Spades.

Basically， what happens here is that you “follow the leader.”* leader.”*  Now,  Now, her here’s e’s where where things things get inter interest esting ing.. You You don’t don’t realiz realizee it, it,

If he does decide to change his mind, you just have to change the focus of the verb (and youll see more details below) by now stating:

but this is not chance. Its a game, like chess, and right now it's So that’s the card you want to keep, and you even changed your  mind so that you could keep it. * With £tthe leader* meaning the force card, the Nine of Spades, in our example.

t Notice that this is the only point (at the end) where you make any reference to a moment in time. See comments in Further Considerations below.

Either way, of course, our non-force card is discarded with t he others.

Th e  Do o r s

o f  De c e p t i o n

What weVe finally arrived at here is basically the most drawn out scenario that can arise with this method. Yet, for the spectators, it should and will feel

Th e  Un e x p e c t e d   W  Wil d  Ca r d 

 because the course of action should feel like one experience to him. He should feel as if he s made a single choice, as opposed to a series of discrete steps. Just as when you ask someone to shuffle the cards its not necessary to make the

like a direct path.

audience focus on every aspect (uRemember you cut them in half, brought them together and lifted each packet with your thumbs, and then wove them B. Keep

together . . .,5), here you want the audience to appreciate only the gestalt.

Conversely, if its the other way around and he gives the non-force card, the verb emphasized to finish the procedure will be keep.

Furthermore, all the transitions need to be conjunctions that bring the subject to a different part of the conversation. Heres a bad example for the first  phase: uThats the same card I would have said, but NOW let me show you something else/5  Notice that the inclusion of

You dont want to change your mind?


at this point has subtly

indicated that you need to do another process, which is contingent on his decision, in order to get what you wanted. Had you simply stated that you

That is the card you want to keep?

have, say, a different question for him, it would have kept moving along without this disjointed reference. Most importantly, in each of the steps above,

 Nothin  Nothing g I cansay will will make make youkeep keep this this one instea instead? d?

it should never, ever feel like you are starting over.

Place the card youve been given on top of the deck.

Un ex pec t

ed  P r e d ic t io n

 And what what card card do do you you have? have? The Nine of Spades! You re not going to believe this. The Nine of Spades.

Your participants seemingly free decisions have brought you to a single Of course if he changes his mind youll shift which verb you re focusing on,

card. Now you will prove he s actually under your complete control. Reach into your right jacket pocket, take hold of the packet of Nines of Spades, and say:

as above.  Notice that the usual equivoque terms like choose or decide  are not used,  because if he were to change his mind, you would be linguistically screwed.

 As I stat stated ed earlie earlier, r, in my pocket pocket I have have one c ar d. ..

Using the verbiage above, however, it wont matter: even if he does take up your offer to change his mind, his actions wont be defined as decisions until it s too late to construe the procedure any other way.

You will now apparently fumble by showing that there is definitely more than one card in the pocket. As you extract your right hand, simply pull up as many cards as you can, letting them peek out of the top of the pocket.

F u r t h er  Co n s id er

a t io n s

What we must stress here is that every process needs to be different, which means the verb that signifies the action must change. The emphasis on the verb  becomes consistent as soon as you realize which card the participant has chosen. The whole development must be cumulative, but not progressive; you dont want him to feel that one thing is leading to another. So, avoid terms and phrases like next t   then, when, now y  this is going to happen^ that happened^  etc. Never reference moments of time or use any temporal language until the final decision,

168

169

Th e  Do o r s

o f  De c e p t i o n

Then, suddenly realize your mistake and quickly jam them back in to keep them hidden as you remove only a single card.* This is a wonderful position to be in for the upcoming climax.

Th e  Un e x p e c t e d   W  Wil d  Ca r d 

Reaching out for pity, look sheepishly at one of the spectators as you take the remainder of the duplicates out of your right pocket; without revealing the faces, be very open about flashing as many backs as possible.

Compassionate audiences will notice your gaffe but kindly side with you. On the other hand, there could be someone whos been trying to bust you the

You didn’t see them, did you?

whole time and now has his chance to point out the weakness in your armor. In either case, you have them exactly where you want them. . . . a n d only one one card, card, here, here, in in my pocket pocket..

Feign disappointment. Oh y т sorry. sorry. You saw those? those?

They did.  Damn  Damn it!

Fan the cards, but still keep the faces toward yourself for a moment. Frn so sorry about that. I really didn't mean for you to see these. Yeah, I do have extra cards. A few of them, but guess what?

Turn the cards around so that everyone can now see the faces. They’re all the Nine of Spades, too!

Briefly take some in each hand and show them around. Bring them back together and set them face up on the table, a little to your right, still fanned.

 I didn’t didn’t mean mean for for you to see that. that. Yeah, Yeah, I do do have have som somee extr extra a cards in here.

 Anyway  Anyway,, what what was your your card? card?

 In fact, fact, I also also have have some some cards cards over over h er e . ..

Reach into your left jacket pocket.

The Nine of Spades?!

Guess what they are?

The card in my pocket is also ...

Cmoriy wild guess, anyone?

... the Nine of Spades!

Fake a big smile and turn the single card around to show them.

 A ny on e? .. .

Square the Wild Card set in your pocket, bring it out, and push over a few cards until youre showing the four available faces.

 Hell,  Hell, Ifeel Ifeel terrib terrible le about about you seeing seeing those those other other cards cards.. Yes, you guessed it: they re all the Nine of Spades, too!  Now you see, see, if I want want you you to pick pick apartic particula ularr card, card, youalways always  Malone Meets Meets Mario Mario,  Vol- 4 * This specific handling of Ed Marios prediction is from Bill Malone, Malon (2009). Mario handled it somewhat differently. He would actually place the duplicates in his  breast pocket and pull out four or five cards, look them over, table one, and then put the rest away* waiting for someone to fall into his trap and call him on it, then he5d strike, showing all the cards to be the same. I like this ££time bomb,5 approach, too!

will. It’s just a mysterious and magical fact.

171

Th e  Do o r s

o f  De c e p t i o n

Th e  Un e x p e c t e d   W  Wil d  Ca r d 

Carefully set this smaller packet on the table somewhat to the left, being sure not to inadvertently flash the faces of any Queens.

Тћеге is so much to praise in Wonders variant. Its done in the hands and doesnt require a table. It also eliminates the customary glide sleight and the hackneyed up-down layout, neither of which ever appealed to me. All his transformations are consistent. Its on the verge of perfection. Indeed, in Wonders hands, it was perfect. Still, one aspect of Wonders solution made me set it aside: he used wax to keep a couple of the cards together. In the masters defense, the wax serves a brilliant double purpose, but I would find the points where the wax was applied got grungy after only a few performances. Over time I switched to utilizing the rough and smooth principle, which

Gather the first packet of Nines and return it to the right jacket pocket. Take the Nine that s from the actual deck (noted by its marks) and toss it back into the center of the pack. Shuffle the cards, retaining the stock of five on top.

W il d  C a r d The roots of the Wild Card plot go back to Hofzinser, whose ''Everywhere and  Nowhere,J  is an obvious precursor.* Today, however, most magicians associate the effect with Peter Kane, whose aWatch the Ace! 55  relied on double-faced cards to transform a packet of indifferent cards into Aces.^ Frank Garcia marketed an unauthorized variation of Kanes effect with the title
accomplished a similar function as the wax, but this also proved impractical for my purposes. On top of that, Wonder s presentation is so unique and so totally him that I felt I needed a different way of showcasing the effect. After many years of trial and error, I finally found a solution that keeps my favorite aspects of Wonders miracle and meets my own criteria. For instance, I was fond of the fact that Wonders approach reset easily and that it could be  performed numerous times in an evening and survive multiple viewings. The former aspect IVe kept in mind here; the latter, although interesting, was something I was willing to sacrifice along with any adhesive on the cards. Also, IVe never really been one to perform packet effects, but I do find many of them can become more effective and intriguing if they dont appear to rely on just a few cards that have been pulled out for no other reason than to  perform their special, little trick. Here, however, you start with Vernons legendary uThe Trick That Cannot Be Explained,w  couple that with Marios humorous and offbeat ''Unexpected Prediction,w  and then seamlessly transition into K Wild Card.^ Each of these effects is strong in its own right; yet when combined, they become a powerful and cohesive whole.  Hi,what’s what’s your your name name? ?  Nancy  Nancy,, woul would d mind mind help helping ing me?

S n e a k i n g  U n d e r   t h e  F e n c e  T o  B e  W il d Having set the four discards on top of the pack in the previous effect, you now have the Queen of Hearts fifth from the top in preparation for a Hofzinser under-the-spread force.*

* See Ottokar Fischer, Kartenkunste (1910), p. 16\; see also Magic Christian, Non Plus Ultra, Vol. 2. (2013)  p. 173. ，

卞 Peter Kane, “Watch the Ace!”

Vol XIX  No. 8 (April 1962)  p. 89. ，

，

ф Tommy Wonder Wonder & Stephen Minch, The Books of Wonder, Vol. 1 (1996), pp. 183-201.

* See e.g. } Roberto Giobbi, Card College, Vol. 1. (1996), pp. 189-90; see also Andi Gladwin,  Parkers 52 Memories (2007), pp. 63-64.

173

Th e  Do o r s

The Hofzinser force is well known and can be found in several modern textbooks on card magic. Heres a brief explanation. Push over the top five cards in a spread, taking three predominantly into the right hand and allowing two more to spread from the pack. With the left thumb securing the fourth card from above and the left fingertips engaging the face of the fifth card to be forced, move in an accordion-like motion, pushing the fan of three in the right hand toward the left in preparation to continue spreading more cards. As these actions are taking place, extend the left fingers underneath and slide the force card rightward; simultaneously pull leftward on the fourth card with the left thumb, allowing the force card to ride under the spread. Continue with the spreading action, letting the force card ride underneath, as you say:  Just  Just touc touch h the back back of of any any one of these, these,Nancy* Nancy*

As soon as a card is touched, take the spread of cards above it with the right hand. Out-jog the selection (the top card of the left packet) slightly, leaving it isolated, while you square the remainder of the left hands cards. This one) right here?

Once the selection is verified, ostensibly place it to the bottom of the cards held in the right hand but feed it above the force card, which is still hidden underneath the spread. Square the cards held in the right hand by pressing their left sides against the top of those in the left hand. This is the perfect place to use this style of force because the selection can  be free and open. Let me explain. If someone is right next to you, уоиУ never want to do a Hindu force because he or she can simply reach out and select one. If, however, someone is far away (as in the third phase of Cf The MindMelding Magician!>,), its a great force to use, not only because youve chosen a  participant whos a bit too far to reach out and grab one, but also because the choice does not need to be hidden from you as its displayed. The Hofzinser force also plays quite well here because you want to show the entire room the card at once and, at least temporarily, keep it out of your sight.

* Because youre following the mechanics of the Hofzinser force, you can keep your eye out for the marked Nine and possibly classic force it for a playful interlude before moving on to deal with the Queen. If you decide to do this, youll need to cull the Queen to the bottom. Its then an easy matter to milk the top and bottom cards, peel three more, and then revolve both packets to coalesce the deck and bring the Queen back to the fifth position.

174

Th e  Un e x p e c t e d   W  Wil d  Ca r d 

o f  De c e p t i o n

 Happe  Happens ns eve every ry time! time!

Flop all the cards in the right hand face up onto those in the left and turn the pack to widely display the Queen (although apparently you expect it to be the Nine of Spades again). Do not look at it; instead, pause while you display the face to the audience. Only after a few beats, or until someone calls out that its the wrong card, should you shift your attention to it. Stunned, stare blankly at the Queen for a moment and then deal it off to the side. Your inner script should convey that something has definitely gone awry. Briefly spread over the group of face-up cards as if youre surveying what just went wrong. Turn the group face down, righting the pack. After a moment of contemplation, say: Well

т

not taking the blame for this one. Nancy, Nancy, I thought thought Fd 

shown you, quite specifically, which one you were supposed to select.  As  you say this, gesture toward the pile of face-up Nines on the table, which are secretly comprised of your Wild Card gaffs. Well, show’s over.

D e c k  S w i t c h ：  O u t w i t h t h e  O l d If you re following the big picture, now is a nice time to take the cards in your hand and all the other props from previous effects (i.e., the switched-in monte cards, the odd-backed card,* the pen, the ten cards from the poker routine, etc.) and put everything away (except for the rubber bands; we'll be coming  back to using those soon). An added tip is to take the Eight of Hearts from the poker hands and inconspicuously place it on the bottom as youre assembling and boxing the deck; this will be the cover card on the face when we ring in the Octopus Deck later.

not   to include this blue card with the boxed deck as it doesnt have a counterpart in the * Be sure not  cooler.

175

Th e  Do o r s

o f  De c e p t i o n

The pack is boxed and placed into the right side jacket pocket on the inside of the divider as you gather your accoutrements.

Th e  Un e x p e c t e d   W  Wil d  Ca r d 

shown the cards that came from the right pocket so freely. Their identities are already taken for granted, and the entire packet will, therefore, draw far less scrutiny than a packet of cards extracted from a little plastic wallet. In fact, I  believe that if you were to insert the Hamman count now, youd be  broadcasting guilt by overproving an accepted fa ct.

 I cant believe you messed me up y Nancy!

Turn both hands palm up, bringing the faces of the cards back into view; use the fingers of the right hand to turn the packet in the left hand face down.

Pick up and square the Wild Card set face up in the left hand, being careful not to flash the Queens. Push over the top two Nines into the right hand and then flash the back of the squared packet in the left hand. Replace the right hands two cards onto the left-hand packet, keeping them slightly spread. With the right hand, take the tabled Queen face up. One at a time take the two fanned Nines back into the right hand, under the Queen. Again, casually flash the back of the left-hand packet. Push over a single card with the left thumb to sho-v two backs, and referencing the color of them, say: Well at least you got this side right.

C ar d 1 Flash the back of the card in the right hand one more time by rotating the Briefly replace the two Nines onto the left packet and flash the back of the Queen. Once more, singly take each Nine back into the right hand, below the Queen, and add the third Nine; briefly flash a back of the squared left-hand

hand palm down and then palm up again. Take the pushed-over face-down card (a non-gafFed Queen) off the top of those in your left hand and slide it above the right hands face-up Queen.

 packet again, too. Square all the Nines into the left hand and hold the Queen in the right. Turn the right hand palm down so that the back of its card is shown once more, and then rotate the left hand palm down again, showing a back there as well. All the displays and flashes above should take just a matter of seconds, and they should be executed with a casual air, as if you are simply examining your  predicament and wondering what to do. While these displays should appear to  be for your benefit, they really psychologically imprint the picture of as many  backs as possible into the minds of your spectators. Furthermore, compared to the usual Hamman count (which feels a bit ham-fisted and also fails to display the backs of these cards) this casual series of flashes is far more natural. For one thing, it takes place after youve already

Secure both cards, face-to-face, in the right hand, thumb on top and fingers on bottom, and begin to rub their faces together; here you can be very open about showing the lower Queens face.

Th e  Un e x p e c t e d   Wil d  Ca r d 

Th e  Do o r s o f  De c e p t i o n

Because the audience isn't aware of the identity of the upper card yet, I'll

With your right hand take the two cards, with your thumb still on top and

rub it in a few wide circular motions over the lower, visible card and

fingers below; once more turn the right hand palm down, again placing the

 progressively make the movement smaller until the two cards are squared. As

cards out-jogged to the right on top of the left-hand packet.

you rub these cards, turn the cards in the left hand face up. Keep in mind, throughout the following explanation that, although its quite lengthy here, the idea is simply that the cards will rotate end-over-end twice before you display the change; basically the cards end up how they started. This is true of some of the upcoming changes, as well. So, bear with me and follow slowly. Every movement is important, even if it seems like a bit of a grind to get there. With the two cards squared in the right hand, rotate them end-over-end by turning the wrist inward and palm-down. Place the two cards out-jogged on the outer right corner of the left-hand packet, stabilizing them between the left fingers and thumb.

This time, just balance the cards between the three left middle fingers from  below and the right middle fingers from above; the fingers are somewhat open and unburdened (the right hands fingertips are touching the back of the upper card just enough to keep the cards from falling).

Reposition the right-hand so that its now holding the two out-jogged cards  by their outer right corners, thumb on top and fingers below.

Once secured, continue with the circular action, rubbing the upper card on the lower one. Here you dont need to worry about preventing the spectators from seeing the face of the lower card. / can fix this. All I have to do is rub one against the other, and I  can make it change.

Shift the right hand again so that youre holding the upper, face-down card Here, you cannot be as open as before. You dont want to prematurely give away the transformation. Keep the cards aligned as you continue to caress and

 by its right edge, thumb on top and fingers underneath, and pull it off gently to the right.

massage them for a moment by flexing them back and forth at the corners; instead of a rubbing action, do more of a soft rippling, wave-like motion.

178

Come close, Nancy. Watch this...

Th e  Do o r s

o f  De c e p t i o n

Meticulously square these two cards and then separate them again, conveying difficulty or that something is amiss.

Th e  Un e x p e c t e d   W  Wil d  Ca r d 

Push over three cards from the left hand to the right, showing four Nines of Spades and two Queens of Hearts.

 Hmm. They usually change.

In either of the upcoming presentational options, your inner dialogue should seem to reference the card held in the left hand, as if youre expecting that it will be the one to transform. One option is to turn the face of the right-hand card toward yourself and feign amazement (as if youre seeing it morph right before your own eyes). Then slowly look toward the audience, smile, and finish by rotating the card for all to see. The other way to handle the first transformation is to take the upper card in the right hand, lift it nonchalantly, and allow the spectators to see the change

Slightly square the cards and then separate them again, the two Queens in the right hand and the Nines in the left. Flash the backs of those in the right hand once more and then place the bottommost Queen onto the table.*

 before youre apparently aware of it. This is the way Tommy Wonder handled it, allowing the audience to 'perceive the magic before you do/5* Of course, I think that Wonders acting is brilliant, funny, and perfect; but honestly, I usually take the first option over the second. Гш only speaking for myself here, but I find the conviction required to manage my own wonder is easier for me to portray; and I also find the effect more believable to my audience when I act it out in this way. I find it more effective to widen my eyes in amazement rather than play the part of a magician in trouble. Either way, inspect both sides of the Queen in the right hand. Then, turn your attention to th^ card in the left and do the same, showing the backs and fronts of everything.

Turn the cards face up and take the Queen in the left hand under the one in the right hand and rub them together to show their regularity.

* Tommy Wonder & Stephen Minch, The Books of Wonder, Vol. 1 (1996), p. 190.

180

Square the cards in the left hand, turn the left hand palm down (subtly showing a back), and extend the left first finger to brush the right hands face up Queen.

Turn the cards in the left hand face up. Place the card in the right hand face down and jogged out and to the right on top of the left-hand packet. Rub the  Note: This Queen of Hearts belongs to the deck proper.

Th e  Un e x p e c t e d   Wil d  Ca r d 

Th e  Do o r s o f  De c e p t i o n

 back of the Queen and flick it with the left thumb as it comes off the left edge of the right hands card, showing that the ink isnt wet—that it doesn’t smear or run off any of the card s surfaces.

As soon as the bottom-dealt card is free, turn the right hand palm up and rub the faces openly together as before. As you re massaging the two face-to-face Queens with the right fingers and thumb, place all the cards in the left hand to a spot on the table just to the left

Turn the Queen face up.

of your performance center; you dont have to worry about these being squared

With the left hand, push the top Nine over to the right, and use the right

 because they are all now just t he double-faced cards.

hands Queen to gesture toward the just-tabled card as you say: Pick that one up and check it out, Nancy. I know you re doubting like Thomas right now. So, feel it and verify the miracle for yourself.

Holding your left hand palm up, roll your right hand palm down and trap the cards between the right and left fingertips while continuing to ripple them together as in the previous change.

C ar d 2 Using the participants picking up the tabled card as shade, turn your right hand palm down and appear to take into the right hand the side-jogged Nine; actually,

pull

this

Nine

back

and

square

with

the

others

while

you

simultaneously bottom-deal the lowermost card (a normal Queen), taking it under the Queen of Hearts in the right hand.

Th e  Do o r s

o f  De c e p t i o n

Then, turn the cards over together, mirroring exactly the movement already established, and continue to rub them together in a circular motion.

p e c t e d   W Th e  Un e x pe Wil d  Ca r

d 

Be careful not to flash its opposite side as you place it on top of the two Queens. Holding the three cards slightly fanned, turn a double over without letting the right fingertips leave the back of the now top card.

After a moment, hold the cards with both hands at the fingertips by their sides and flick them apart briskly, as if the action completes the magical  process. Turn both faces toward you then toward the audience, freely showing

Once the cards are turned, you 11 show two Queens with a face-down card

two Queens, front and back. Scrutinize the Queens by holding them up to the

(a supposed Nine) on top. Rub the top card as you did in the previous changes

light. Then offer them to nearby spectators for examination.

to ostensibly accomplish the transformation.

C ar d 3 Take back the Queens and hold them face up in the left hand. Reach over to the packet of double-facers on the left and slide them to the right, spreading them a bit in this process. Take the uppermost Nine off the tabled packet.

Take the upper, face-down card in your right hand (fingers on top and thumb on bottom) and turn it over, showing another Queen.

Th e  Do o r s

o f  De c e p t i o n

Gilding the Lily (O  (Optiona l )

Th e  Un e x p e c t e d   W  Wil d  Ca r d 

Then rotate both hands, left palm up and right palm down, and flick the face-down card in the right hand along its left side with the left thumb.

If you feel the heat is on, you can include this nice little interlude to show three  backs. As the Queen above is being turned face up and shown, simultaneously square the two cards in the left hand. Turn your left hand palm down, showing a back. Turn the left hand palm up and push over the top card, dealing it to the table. As you deal it, turn the right hand palm down showing the back of the card held there. As youre placing the card in the right hand to the table on top of the previous one, turn your left hand, again showing the final back.* Finish by taking the face-up Queen from the left hand into the right and use it to scoop up the two on the table. As youre scooping them up, you 11 want to prepare for the upcoming double lift by placing the three cards into the left hand with the top card just off to the right, allowing you to easily form a little-finger break underneath it. Whether youve decided to use this count or not, youll proceed from here, maintaining a break under the top card of the three-card packet.

.. . and there’s there’s nothing on the back. back.

Finally, place the right hands Queen face up to the table.  Next, youll deal the other three face-up cards onto the table one at a time, using a modified Rhumba count* as follows. Keep the two lowermost cards

C ar d 4 Take another of the tabled Nines with the right hand and place it onto those in the left. Turn a double over and rub the now top, face-down card as before. Take the top card with the right hand, fingers on the back and thumb on the

squared in the left hand and push over the top card slightly with the left thumb; take it into the right hand, thumb on top and fingers below. With the face-up card held in the right hand, but still in contact with the left-hand cards, use the right fingertips to turn the two left-hand cards face down, being sure to keep them squared.

face, and turn it, revealing another Queen. Turn the left hand palm down, allowing its squared packet to subtly display a back/and extend the first finger to rub the right-hand card s face a few times.

Audibly snap the face of the right hands card with your left thumb, emphasizing its singularity, and rub its face with the right thumb:  No ink comes off the f ro n t. ..  Nothing comes off the f ro nt . ..

* Cf. e.g.,  Edward Mario, Olram Subtlety, The New Tops,  Vol. 5, No. Il (November 1965) and Mike Maxwell, Rhythm Count, Classic Magic of Larry Jennings (1986), pp. 186-87.

 Apocalypse, se, Vol. 15, Issue 12 (1992), pp. 2151-53. Jean-Pierre Vallarino, wReal Wild Cards/' Apoca

T h e  D o o r s

T h e  U n e x p e c t e d  W  W il

o f   D e c e p t i o n

d   C a r d 

Table the right hands card onto the other card there.

Front...

With your right fingertips rub the back of the double in your left hand.

Table the card in the right hand. Begin to rub the back of the card in the left hand with the left thumb.

... and nothing on the back.

 Ba c k .. .

Keeping the cards squared, take them with the right hand, thumb at the face

With a bit of a flourish, rotate the final card in the left hand, using the left

and fingers at the back, and rotate the wrist away from you to show the one at

thumb to lever it over and then use the fingertips of both hands to rotate it,

the front of the pair. Just as the packet turns over, push the now bottom card off

showing the back and front freely. Then, give the card an audible snap off the

to the left and use the right fingertips to roll it face down into the left palm.

right thumb. With the card face up in the left hand, scoop up those just tabled and, taking two in each hand, brush the cards against each other a la Ascanio.

Rub the face of the card in the right hand with your right thumb.

 And nothing extra, either.

Th e  Do o r s

Th e  Un e x p e c t e d   W  Wil d  Ca r d 

o f  De c e p t i o n

Table these four cards slightly fanned in front of you just to the left 〇 f center.

C ar d 5  Nancy, may I?

Take back the Queen that you handed out for examination at the  beginning, and use it to scoop up the two remaining t abled Nines. Place the right fingers onto the top card and rub it against the others, effecting the change. With the thumb below and fingers above, take the top card into the right hand. Turn the right hand palm up to show that this card has also transformed into a Queen.

You will now change the last two using the final sequence from Mr. Wonders fabulous routine. As you lift the three cards off the table, allow them to spread a bit so that you can take the Nine that's in the center into the left hand by peeling it with the left thumb.

C ar d 6 Take the top Queen from the left hand, holding it jogged to the left under the other card in the right hand. Next, take the Nine that is in the left hand and move it to the top of the two cards in the right hand.

Take the Queen and the other Nine in the right hand and immediately turn them over onto the face-up card in the left hand. You do not need to worry about these cards being completely squared as the double is turned; just execute the turnover briskly. This is one of the more beautiful benefits of using double-faced cards.

190

r

Th e  Do o r s

o f  De c e p t i o n

Place the three cards into left-hand dealing position, immediately turn over a double, then massage the face-down card on the other two.

Th e  Un e x p e c t e d   W  Wil d  Ca r d 

Once the right hand tables its card, bring the two remaining cards horizontal again and transfer them to the right fingertips, which take them at their right sides. Take the top card into the left hand and begin to deal it to the table; as its being dealt, lift the right hand so that another back is shown.

Turn it face up, showing a final Queen and place it to the bottom. Bring the left hand back and, finally, twirl the last card over end-for-end at the fingertips of both hands and finish by using this card to scoop up all the others.

We will now count these last three cards onto those already tabled with a false display invented by Eddy Taytelbaum that will seem to show a back on each card.* The sequence must be swijft, smooth, and graceful. With the left fingertips, hold the cards horizontal by their left sides. Take the top card into the right hand by its respective side and as it comes off to be dealt to the table, lift the left hand slightly so that a back can be seen.

Widely spread everything between your hands, showing that each and every  Nine of Spades has magically transformed into a Queen of Hearts.

Square everything and turn the cards face down. * Eddy Taytelbaum,

 Apoc  Apocaly alypse, pse, Vol.  Vol. 6, No. 5 (May 1983), pp. 778-79.

193

Th e  Do o r s o f  De c e p t i o n

Th e  Un e x p e c t e d   Wil d  Ca r d 

 Now that the trick is over, you ca n casually push off two cards here showing the backs of three.

Replace the packet into the left side jacket pocket, and you re ready again. Take the top card and place it aside.

 I didn’t see anything, did you?  How ’bout them B e ar s? .. .

This is the one that belongs to my pack. *

 A f t e r t h o u g h t s To reset, turn the remaining cards face up, and fanning them from left to right, take two in the left hand and four in the right, and fold them together,  bringing them face to face. Of course, be careful not to expose the Nines now at the face.  Im just going to put these away; act like you didn't mess up, and move on, Nancy. I didn’t see anything and neither did you, okay? *

* This is not technically true, at least not in this case, because youve rung in the Octopus Deck;  but if you werent using the Octopus Deck, it would be true. Either way, this is the one Queen not  belong that does not   belong to the Wild Card set.

194

Break on through to the other side si de — The  Do o r s

THE OC TOPUS DECK  DECK  Guyot  ♦  ♦ Walsh ♦  Hull ♦ Galasso ♦  Abbott  Fanning the deck before two participants, the magician asks them to think of any card they can see. With very little byplay, he instantly names the fwo freely thoughtf cards. P ushing the phenomenon further, he wraps the deck with rubber bands and tosses it to someone across the room, who pulls open the pack and peeks at a random card. Another person takes the bound deck and does the same. Without any questions, the magician tells each person individually and specifically which cards they have locked in their minds. Then in a flurry of pseudo-psychic energy, the wonderworker begins to pick up on birthdays, secret thoughts, and hidden questions from others in the room. 〇

Bill Abbott has been a wonderful friend for many years. While I was working on this book, he recommended that I include my presentation for an effect of his that I performed as part of the closing segment for my show at The Mirage. Гш honored hes allowed me to include his marvelous Octopus Octopus Deck in this collection. It is one of the most cunning tools of pasteboard legerdemain to have come down the pipeline in recent years, and its a hell of a lot of fun to  perform. Its a real-world workhorse that can quickly and effectively demonstrate, with a handful of participants, some quick no-nonsense mind reading. By coupling this straightforward approach of a pump bank with peek forces (which are sure-fire) and cold reading techniques (which are much looser), its a multiphase mind-reading routine that is hard to beat. As you 11 see, Ive made some modifications for my own purposes and have also deviated from Bills original routine, replacing his last phase with my own ''Sympathy (for the Devil) Cards.”

Th e  Do o r s

Th e  Oc t o p u s  De c k 

o f  De c e p t i o n

Max Maven has written that there are essentially four effects in the world of mentalism: 1.

Telepathy—communication between two minds;

2.

Clairvoyance—the reception of information that is unknown to everyone present;

3.

Precognition—having knowledge of future events before they happen; and 

4.

Psychokinesis—physical manifestations of mental energy.*

Maven goes on to state that to accomplish these four effects, you must utilize one of three basic actions: 1.

Forcing—manipulating a spectator into saying, saying, doing, or thinking what is supposedly a free choice, when in fact you have maneuvered his or her activity into a restricted choice;

2.

Stealing—obtaining information that is supposedly not  being given to you; and 

3.

After-facting—seemingly showing evidence of a prior commitment in the form of a prediction, when in fact that evidence has been introduced after the information has been obtained.

Abbott s goal with the Octopus Deck was to have a tool in your pocket that would accomplish as many of these effects as possible. Excluding psychokinesis, all the other effects in mentalism are possible with the Octopus Deck. In fact, every method in Mavens list is used to accomplish these effects. Lets take a look at what this deck is actually comprised of.

topus 1-0-1 The Oc topus The other major component of the Octopus Deck is a simple version of the 1-0-1 principle; every other card is a force card—but, as all the force cards are the same and shortened, it is also akin to the Svengali Deck. However, by using divided cards, two cards can be forced, one from each end. So, twenty-four identical divided cards are carefully trimmed short at one end, and then the two corners are rounded. Each force card is adhered across the middle onto the back of one of the twelve bank cards, as well as onto each of twelve random cards. On each of the divided cards, the borders of one end are carefully marked at both of the corners (similarly to the border marks on the Queen of Hearts and Nine of Spades from the main deck). When these markings are all facing upward, a spectators peek will reveal the King of Diamonds, when the markings are downward, the peek will reveal the Seven of Clubs. An Ace of Spades remains unaltered, and it will, in performance, come to the face of the pack.

C o nstruc nstruc ting ting the the Oc topus topus Dec k  topus Bank  The Oc topus

To build the Octopus Deck, you will require the following items:

The Octopus Deck uses a six-card bank consisting of one low-numbered red card and a low-numbered black card; a medium/high-valued red card and a medium/ high-valued black card; and lastly, two court cards, one red and one black.

• A regular decks of cards, plus 6 extra bank cards cards (described above) with matching backs

These are the cards in order from the face of the deck: Eight of Hearts, Jack of Spades, Two of Hearts, Nine of Clubs, Queen of Diamonds, Three of Clubs 卞  This bank is repeated once.

• Clear double-sided tape

•

• 24 divided cards • An X-Acto knife or scissors • A straight straight edge

* Phil Goldstein, The Blue Book of Mentalism (1976), p. 2.

• A corner trimmer 

t These cards are a slight variation of Bill s original. Hearts and Diamonds have been transposed, i.e., 2D, 8D, & QH -♦ 2H, 8H, & QD.

• A marker 

198

• A pencil

Th e  Oc t o pu pu s  Dec k  Th e  Do o r s o f  De c e p t i o n

With the marker, carefully mark the back of each divided card by crossing through the white borders at both corners on the King of Diamonds end.

Then place one of the prepared divided cards face down on top of this card, lining it up with one-thirty-second of an inch of the bottom card showing at  both ends. Repeat this process until al l of the pairs are adhered. Using the X-Acto knife, cut one-sixteenth of an inch o£F one end of each of the divided cards.* Using the corner trimmer, carefully round the corners of each divided card.

 Now place the cards in order (the twelve random double-cards on top, followed by the twelve bank double-cards, in the order given above), and place a regular (ungaffed) Ace of Spades at the face, with its pip oriented to the King Assemble two sets of the Octopus Bank cards: the Eight of Hearts, Jack of

of Diamonds end.*

Spades, Two of Hearts, Nine of Clubs, Queen of Diamonds, and Three of Clubs. These twelve cards will be used to create the bottom half.  Now remove twelve random cards from a regular deck (excluding the King of Diamonds, Seven of Clubs, Queen of Hearts, and Ace of Spades). These dozen cards will be used to make the top half. Further, the twelve pump cards and the random dozen may need to have each of their corners rounded (so as to match the ends of the cards theyre attached to), keeping the deck as uniform as possible. You are now going to adhere the trimmed divided cards to the backs of the twelve-card bank (the bottom half) and the twelve random cards (the top hal〇 as follows. Place one regular card face down on the-table, and place a strip of double-stick tape across the middle of the back of this card. * Due to a decline in printing standards, borders today are rarely even; its best to cut from the end with the widest border.

With a pencil, mark a dot on the back upper-left and lower-right corners of the Three of Clubs, which is placed near the center of the deck. * Mnemonically, its easy to remember that the Ace of Spades is pointing toward the King of Diamonds end of the divided cards; its a visual marker to the highest value, which you must consider later when the rubber bands come into play.

Th e  Oc t o p u s  De c k  Th e  Do o r s

o f  De c e p t i o n

This stuff IS fun. I love everything about it: the lying, the sleight 

Before each performance, make sure that all of the markings are at the same end of the deck. To fully prepare, place the Ace of Spades a few cards from the bottom, leaving the Eight of Hearts at the face, to match the Main Deck.* Grab two rubber bands of one color (or thickness) and two bands of another color (or thickness). Box this pack， and you’re all all set.

of handy the audience management, but some of us take it   further. What I mean by that is there is a deeper style of magic.  It's not about the cards, or money , or any of the other props; it's about two minds coming together in unison.*

 As youll see, this is the part of the show where if you really wanted to mess me up you could, and it’d be pretty easy, but

witc h  Enter Dec k  S  Switc ：

the the Oc topus topus1

hoping you dont.

So, in the big picture, youVe just put away the Wild Card set into the left  jacket pocket and are left with a Queen of Hearts and four rubber bands on the table. To ring in ccHie Octopus Deck,55  simply reach into the pocket they watched the deck go into and remove it. What could be more straightforward?

Phase 1  Up Close ：

On et purely human level, we communicate verbally through conversation and non-verbally through body and sign language. The number of ways that we communicate beyond the average

Metho d & Presentatio n

conversation has increased a lot recently through cell phones, emai emails ls,, text text me ssa ges ...

c pumpw 

In this script you will see how the is performed, how to properly utilize the divided force cards, and how (and when) to execute the next deck switch. Obviously, I dont assume you will use this exact script in your own  performances, but you should feel free to utilize anything in this routine that strikes your fancy. Most of my performances follow the pattern laid out in this book,  beginning with displays' of classical magie, then making a transition to mind reading. Of course, there are moments that blur edges, but I do believe it is  best to signify to our audiences that such a dichotomy exists and the line is  being crossed.

What Fd like to explore here are some truly alternative forms of  communicating—ways of communicating that you’ve probably never heard of, let alone experienced. Namely, contact mind  readingy artificial telepathy, and clairvoyance.

For legal and moral reasons I have to tell you that what you are about to experience is not supernatural. It’s because these  phenomena are natural that they are mysterious and beau tiful.

Obviously I cant perform mind-to-mind communication alone.  Are we having fun yet?

We need two people to assist me up here~~a couple of people who are open-minded, well-rounded, cooperative, good natured,

 I sure am!

and who are familiar with the names and faces of playing cards.

* This will later help to single out the Ace and move it to the face (where it will then act as a cover card for the later deck switch, too). t Youll need double this number of bands if youre going to do the next deck switch, as these “same” bands vvdll need to be on the “Sympathy (for the Devil) Cards” pack, too. ф Although this description reveals the way I perform and choreograph the routine, much of Bill Abbotts text is excerpted (in an edited form) throughout, until ^Sympathy (for the Devil) Cards," which replaces Bills original finale.

K . . . I say the words, !As a few of us get deeper into magic and move away from the sleight-of-hand end of things.5  This subtly trivializes mere trickery, which in turn suggests that I am doing something altogether more real. And rare, for only a £few of us’ go so deep.”

* Cf.  Derren Brown,  Abso  Absolut lute Magic Magic  (2001), p. 59：

Th e  Oc t o pu s  Dec k 

Th e  Do o r s o f  De c e p t i o n

Scan the audience for two cooperative people. Invite them to the front Have a lady stand to your left and a gentleman to your right.

it's kinda like that. So, dont make it easy and pick this one y okay?  In fact, let’s try this. Olivia, do you like red?

Thank you two for helping me.

Good. What I’d like you to do is just think of any red card you

 And your name?

see then and 11 have you Peter, think of a black one. Olivia, thank you. You see， although it would would be cool if you happened happened to both think of the same same card, it’s just just not what what

 And yours?

т going for for here. here. I 

really want to try something more challenging.

Peter, thank you, too.

Pick up the tabled Queen of Hearts (which remains from the Wild Card

Olivia and Peter, I trust you are familiar with the names and   faces of the cards in a deck?

routine) and add it to the top, requesting:*  And dont think of this one either; that would probably be obvious, too.

Remove the deck from the box. Being careful not to disturb the pump cards in the lower half (theres also the corner-dotted Three of Clubs in the center as a marker), give the top half of the deck an overhand shuffle.

 Ready, Olivia?

Begin by fanning over the top half of the deck and glance for the pencil-

Fifty-two different cards.

dotted Three of Clubs in the center; this is the first card in the pump. Once you see this card, push it and all the cards above it haphazardly squared into

Lift and fan the upper half toward the audience, showing all these cards as distinct (which they are).

the right hand and lift, spreading as many cards as you can between here and the bottom of the pack as you look away.

What I’ll have you do is look at and remember any card you see. Well, except for one. So, before you do this, I will let you know ...

 Do you have one in mind, Olivia? Good.

Turn the faces toward yourself and spread the pack until you get to the Ace of Spades. Without disturbing the remainder of the cards, move this Ace to the

Gather the spread and square the cards in the left hand.

face; remember that its placement on the face should be oriented according to  And you could see they were al l different?

the King of Diamonds end of the pack. ...that the Ace of Spades is the card MOSTpeople choose.

 Remember in the movie Reservoir Dogs how everybody wants to be “Mr. Black” and no one wants to be “Mr. Pink   I think  ”

204

*  Its best if you shuffle before ^reintroducing55  the Queen to the deck; that way you wont have to search for it when you later reset. Also, the Queen can play a misdirectional part later when you switch decks for “Sympathy (for the Devil) Cards.”

205

Th e  Do o r s o f  De c e p t i o n

So, with all those choices, just lock the image of that one card in  your mind for me, okay?

Th e  Oc t o pu pu s  Dec k 

against going for it again), theres now a good chance that she will go for one of the red spot cards, which are Hearts. Plus, there are two of those and only one Diamond. So, you will begin with a technique thats been aptly called ^fishing

 I’ll come back to you in just a mi nute.

for the majority.”*

Addressing the spectators:

 Now I hope you noticed that I was lo oking away so that I could  not possibly even try to track her gaze. *

Repeat the procedure with the other participant, who will think of a black card.

Pump 1 т sensing sensing what what seems seems to be a He ar t. ..

A. Affir Affirmative mative Reac eac tion Good, but Im just warming upy okay?

Peter, I want you to do the same; just look at and remember any black card that you see here.

Fan the faces toward him using the same actions above while you look in

 Maybe I just got lucky with t hat; it's only fify-fify-

Well now use a subtle ploy of Senator Crandalls by continuing with:

the opposite direction.  Again don’t say anything; just look at me. In your mind, just  You have one, too?

Good.

say the name of it over and over   y  like,

(
of Hearts, Two of 

 Hearts

If youVe hit, shell respond; if not, without missing a beat, finish off with:

Close the fan and sqtiare the deck into the left hand. At this point you know the color of the cards that each spectator is thinking of. Now we continue, but this is where the routine deviates from the pumps

 Ah, wait, there it is. Thank you. I see and hear i t now. Ye s, an  Ei g ht .. .

 put forth in Bill s manuscript. ... The Eight of Hearts!

Vigil ’s Pump Seq uenc e Ask the participants to concentrate on their cards. Eventually, your ^fishing' will not even be construed as questions, just impressions. We will, of course, start with the lady. Under other circumstances there would be a high probability of her thinking of the Queen of Diamonds, but since the Queen of Hearts was selected earlier (and since we just cautioned her 

* From Paolo Cavalli s pump section in Bill s original write up.

206

Thank you for sharing your thought with me today.

B. Negat Nega tive Reac tion Okay, well Im just warming up. Please, dont say anything to give it away y Olivia. Just concentrate...

See  Orville Meyer, <£The Principle of the Majorities, 55  Magic  Magic in the Moder Modern Manner  Manner   (1949) pp* See 62-66; see also Bob Farmer, £ (1987).

207

T h e  D o o r s

o f  D e c e p t i o n

 Ah, there it is, plain as day. I see it now. A Queen, yes? ... Ah

T h e  O c t o p u s  D e c k 

Size him up again and, after a brief pause, definitively say:

The Queen of Diamonds!

 Ah> okay! okay! Now Now т gettin getting g it. it. In fact, fact, it wasn’t wasn’t a Spad Spadee at at all; all; it's actually a Club you re thinking of!

Thank you for sharing your thought with me today.

Here, hold your hand at waist level, wiggle it at the wrist for emphasis, and 

Pump 2 Moving along, you now turn to the second participant and his thought-of  black card. There is a very high probability that he is thinking of the Jack of Spades; it was the only Spade and court card available. This can make for a very nice direct hit:

say: You’re not thinking of a low card, are you?*

A. Affirmative Reac ea c tion That's exactly what I thought.

Peter, look at me—right here, in my eyes ... Would I be correct in saying... ... The Jack of Spades! . . . T h e Thre Threee of of Club Clubs? s?!!

If the gods have failed to shine on you, no problem, you will take it in good stride (after all, you did just score a hit a moment ago with Olivia). Chuckle, shaking it off, and continue:

B. Nega tive (or Uncertain) Reac tion  I didn didn’t ’t think think so. so. No, No, not at all. all. In fact, fact, it’s it’s very very high high..

 Damn!  Damn! That That wou would ld have have been been good, good, though though,, huh? huh? . . . T h e Nine Nine of Club Clubs! s! That was just a guess, guess, but Imnot here to guess; т here to read  read  minds.

Heres where the methods could be juggled. If Olivia didnt make you use the Crandall stratagem, you still have a perfect opportunity to use it here; if, however, you did need to fall back on the good Senators dodge, then youll have to take another route to open both options: the Three or Nine of Clubs.  Don’t  Don’t say say anyt anythin hing, g, just just look look at me andlet me see what what I can  pick  pick up up on. on.

 No matter what, I like to reach out and shake this participant s hand. You re pretty hard to read. I didnt know if I could do it! Peter, thank you for sharing your thoughts with me, too.  Honest  Honestly, ly, I couldn couldn’t ’t have have done done it witho without ut you. you.  Let's  Let's give give both both of my helper helperss here here anot another her big round round of applau applause se as they make their way back to their seats!

* Of Т .А . Waters, Waters, “Trionic， “Trionic， ”, Mind, Myth Myth & Magick,

208

（ 1993)， pp.

69-86.

209

Th e  Do o r s

Th e  Oc t o p u s  De c k 

o f  De c e p t i o n

You dont have to come up here or anything, you can stay right  Phase Phase 2: Furthur

where you are at.

/ dont know how many of you believe in telepathy or E.S.P.,

Thanks, and your name?

but т sure that everyone s had some type of experience that they  feel is strange or unexplainable. Were going to attempt a very risky demonstration by pushing this further, or  }  should I say,  fa rt h er ?. . .

Quentin, heres what Fd like to happen. To get a random image locked in your mind, take the deck in your hand—like this — keeping the backs toward me at all times ...

Wrap the rubber bands around the cards at both ends, about a half-inch down from their respective ends of the deck+ The red (or thick) bands should go at the end with the marked corners (i.e., the King of Diamonds end), but

Illustrating his upcoming actions, hold the deck in the left hand, faces toward you and say:

 just rely on the Ace of Spades5  center pip to guide you. Then place the blue (or Open the the deck wherev wherever er you d li ke .. .

thin) bands around the other end. т working with are

With your right index finger, continue to illustrate what you want him to

right next to me; it’s something altogether different if someone is

do by engaging the top edge and pulling toward you, causing the pack to break

 After all, it*s one thing when the people  far away.

т

sure you’ve heard of a mother having a feeling

open slightly.

about her her child being being hurt， and later later it’s shown shown to be true， like they were connected in some way.  In a moment, one of you will get an image of a random playing card. To be sure that I have no possible way of knowing what  card you will see, I would like to use someone far'ther away from me. Fve heard some people can do this sort of thing at distances so great that they require being on the telephone; but in my investigations

into

these

phenomena,

Fve

found

those

 practitioners to be nothing but fakes. Take a peek at the card there, and then immediately let the To someone a bit away: Would you mind helping me with this?

 pack close up y allowing the image to settle in your mind. Quentin, I will throw the deck to you. Can you please stand?

Gently toss the pack to the participant. *  "Furthur" was a bus driven by Ken Kesey and the Merry Pranksters (thank you for your outstanding service and commitment). t I have found that the tighter the bands are around the Octopus Deck during phase 2, the better. When the bands are tight, there is almost no chance that the spectator will get a glimpse of a duplicate card. The tighter bands will also make sure that the deck is not manhandled by a spectator and potentially damaged.

210

Quentiriy open the deck, get a quick peek, and then let that  image fill your mind.

Th e  Do o r s

Th e  Oc t o p u s  De c k 

o f  De c e p t i o n

While he is doing this, note the position of the red (or thick) band on the cards. If it s on the upper half, he s looking at the King of Diamonds. If it s on the lower half, he will have the Seven of Cl ubs in his mind. As he finishes, say: Good. And just concentrate concentrate on that for me， because that’s that’s what   Im going to be picking up on: the image.

Have the deck returned and, on making your way back to the center area, act as if you happen to pick up an extra thought from another person. After he takes his peek, retrieve the deck and turn to face the first participant.  Ah, key, what’s your name?

Peek  R  Revela tio tio n  1: Letter s in a  Wo rd

 Ross, I picked up on that.

 Let's start here with baby steps, and then well build toward 

To the audience:

something more complicated. Quentin, just concentrate on the You see, I was getting the impression that he is wondering if I 

value of the card for me. You know every card is like the

can work with him, too.

something of Hearts, or whatever. Now dont say anything; just  in your mind start with that.

You arent asking for this persons confirmation here, but people can infer you are correct and most will make that assumption.

Great. Now spell it just in your mind for me—not out loud, in  f s coming in.  your mind. Like, if it's a si x, spell S-I-X. Okay, i t 

 Now concentrate on one of the letters in the middle there for 

Yes, Ross. Yes, I can. Could you please stand, too?

m e . . . You’re You’re funny! It’s like you thought thought of one one letter there there then then changed your mind to another. Not only do I tell people what 

If you need to, casually turn the deck, bringing the other force cards end facing upward. The rubber bands, remember, will guide you.  Here take the cards just as Quentin did, like thi s ...

Again, show and tell this next participant how youd like him to proceed,  placing the deck directly into the 'peeking5 position in his left hand.

they think; I tell them how they think. Do you want me to tell  you the first letter or the second lett er youre thinking of?

 Notice how this works no matter if they have the Seven or the King. King. And, again， you aren’t going to ask if you’re correct or not.  Im not exactly sure about this, but I seem to be picking up on a

 Ross,

“V” and an “E.” You’re thinking about a Seven.

1 like y ou to do the same. Open t he deck whereve r youd 

like and then take a peek at a card; then concentrate on it for 

or 

me by keeping keeping that image image locked in your your mi nd .. The two letters I seem to be getting are the “I” and an “N.” This is a King.

See Banachek, Psychological Subtleties (1998), pp. 32-35.

212

Th e  Do o r s

o f  De c e p t i o n

Either way, ask:

Th e  Oc t o p u s  De c k 

 banded deck in left-hand dealers grip and bring the right fingers over the front for cover. Push the deck back a little, taking it into gamblers cop. Next, move

 Right?

both  hands simultaneously to their respective rear sides of   the trousers,

depositing the deck in the left pocket.* Having built the momentum, continue:

Youre not really hiding where its going; you re just not making a big deal out of the entire action, and, again, the audience should hardly notice.

Concentrate on the suit of the cardfor me, Quentin.

Because the cooler (which you will soon ring in) has the same appearance, with the Ace of Spades on the face, Queen of Hearts on top, and identical

People ask me how this works, and you know, we spend millions of dollars each year trying to figure out how to move

rubber bands around it, the audience will “not even suspect, let alone detect 卞 ”

that the pack is different.

information from one place to another—like with radio waves.  In my mind Im trying to focus my dial and tune in on the

Peek  R  Revelatio n 2  Windows to the So ul ：

signals hes sending to me.  Ross, we’re going to do the same but a little bit different. Every  Let’s keep going! Send me the s ui t .. . now!

time I attempt something like this Im always trying to take it   further.

After a moment, raise the back of your hand up in front of the closest audience members:  Look! Ca n you see the way the hair on the back of my hand i s standing up? That’s the signal coming through, and if I was to

Addressing all:  And as I attempt to gather and filter what he’s sending to me, the rest of you concentrate on a birthday perhaps the name of a

decipher it right now, I’d say you’re concentrating on a Club.

 friend, or even a question or concern you d li ke an answer to.

Quentin, would I be correct in saying that your card is .. . The

 Ross) face me, I want to look directly into your eye s and you look 

Seven of Clubs?!  Incredible!

directly into my eyes ... NOW!

The spectator looks at you while you study his eyes intently. You’ve probably heard the line — it’s it’s been misattributed to

Dec k  S  Switc witc h: Fo r  "Sympathy (fo r the Devil ) C ards"

Shakespeare, Leonardo Da Vinci, and even the Bible: “The eyes are the windows to the soul.w

Walk in the direction of the remaining participant. While making this journey, ditch the deck in your left rear trouser pocket. This will go unnoticed, mostly  because you are in transit; there are, however, several other things to consider as this deck switch is beginning. First, you will split the attention by disrupting the audiences ability to focus on exactly which side of the body the deck is going. Specifically, hold the The hair on the back of ones hand is always standing up, at least to some degree. Sneaky!

* Because I perform several effects that require easy access to the pockets, one thing I do to all the  pants I perform in is to remove the pocket buttons, if the pants have them. When wanting to move as smoothly as possible, having a hang-up on a button can be something that, while behind your back and not seen, can and will arouse unwanted suspicion. t S.W. Erdnase, The Expert at the Card Table (1902), p. 83.

Th e  Do o r s

Th e  Oc t o p u s  De c k 

o f  De c e p t i o n

but it may start with the letter “M.” And—this is weird   —

Here I diverge slightly from Bascoms write-up. Though Ive kept much of the script, I do not combine the zodiac sign with the readings as he did.* Instead, I like to stagger both of these so that the astrological signs and readings are not linked. This affords me more leeway; of course, we should use whatever information that becomes available to us if it can be spun into a mystery. Many times, though, Гш walking into a room cold; so, this is how I

something about a squeaky door.

might handle it.

/ want you to know the first thing I seem to be picking up on is something about travel, like youve just gone somewhere or you re thinking about going somewhere. Does that make sense?* т also picking picking up on a name name y  a womans name; Im not sure,

Time to put the afterburners on and crank it up. Remember, you arent stopping to ask whether you re right or wrong when you add these little cold-

Continuing from Bascoms write-up, say:

reads; and you ahvays back them up with some type of hit concerning the cards they are  thinking of. In other words, after bulldozing through the above, and  before they have a chance to respond, you tidy everything up with:

 Here, beware! Beware! BEWARE! For the course of act ion upon

 Now, Im going to go out on a limb here, and if Im right all I 

Then, apparently point to some other particular people farther back in the room, but actually just gesture into the crowd.

want you to do is sit down—but dont do it just to make me look good.

 I s

which youve embarked is leading you over thin ice. I urge you to use caution, caution, pvepavation， pvepavation， and common common sens

this card you have in mind . . . the King of 

 Diamond ?!

There! Scorpio! And next to you, Aries!

He sits.

To a specific woman, I might say:

Yes, great. Thank you. You are going to receive important communication soon. I am

 A st r o -L o g ic *

not sure if it's a phone conversation, perhaps email.. . it may

 Now youll use a bit Ive used for many years to seemingly end my shows—just  before coming o ver the t op with the encore. Г 11 let Bascom Jones set up the idea; then follow with the way I specifically handle this crafty presentational ploy.

anything is that it will bring change. Possibly as soon as a week 

even be something overheard, but what I sense more than and definitely not more than ten days!

Gesturing to a further side of the room (but not pointing to anyone in For many years, mentalist David Hoy, as Dr. Faust, closed his routine with a series of staccato-like verbal predictions of coming events. He literally hurled headlines from the future to the audience. Hoy depended upon his spectators remembering the chance ones that might hit and forgetting the many more that missed. Here is a powerful variation that has the advantage of being both more immediate and personal. Heretofore, I have revealed this to only a few close acquaintances. It employs the same dynamic approach and lightning-quick delivery. And, like the Hoy concept, it is designed to provide you with a fast-paced and powerful exit. You have completed your final and strongest effect. Suddenly, you pivot and point toward a spectator on your left. .

*  How could you  possibly sibly  be wrong? Honestly, in countless performances I've never had someone answer in the negative here.  Magick, Issue 63 (1972), pp. 312 & 314. *Bascom Jones,
 particular), say:  And Virgo! And you re an Aquarius!

*  Dont dismiss this here though, because with social media it is so convenient to be able to hot

read even one or two people wholl be in attendance; and with these you can have a few direct hits intermixed with the cold readings. Peppering your revelations with a few verbal affirmations can be very powerful. t Let me stress that I am not a fan of taking advantage of people or leading them astray with socalled psychic entertainment, and I know full well what Ггп doing when I include these lines in my show. There is a thin line between good-natured fun and charlatanry; therefore, I execute these readings with a twinkle in my eye so that they are taken as innocuously and innocently as a message in a fortune cookie. No one is told about relationships, where to put money, or anything else as drastic—merely, “be carefiil， ” “be open,” and “think.” Good advice for us all.

T h e  D o o r s

T h e  O c t o p u s  D e c k 

o f  D e c e p t i o n

He’ll say, “Yes.” I’ve never had anyone say otherwise.

Single out a gentleman:

Bascom concludes: This man here doesn’t believe a word word

т

saying and， although

he doesn’t trust me as far as he can throw me, he still loves the way I lief 

The effect is that you know the birthdays of all in your audience, as well as know significant events affecting each of their lives. People like to be told secret things about themselves. And gossip columnists from coast to coast know that other people like to listen in!*

Then to the crowd, while raising your own hand, go for a Hail Mary and ask: I couldnt agree more. Dont be surprised when people come up afterward Who is it that

т

picking up up on that’s that’s concentrating concentrating right now now

and ask you too, “How did you know my birthday?” ，

one on the name James and the other is Mary?^

ftertho ughts Aftertho

This is either a friend orfamily member, member, т not sure. sure.

Quickly notice if anyone responds. If no hands are raised, its time to bluff  by randomly pointing out into the crowd, as if someone did   respond, by nodding or gesturing to two spots in the room.  

Yes.

Rubber Bands: Warning: when performing “the peek” peek” in phase 2， always have the rubber bands around the ends of the deck. This includes during rehearsals and when you are simply toying with the pack. The double cards are held together with permanent double-stick tape and are adhered securely; however, any excess pulling down on the cards without the rubber bands around the ends of the deck will separate the double cards. Also, always be sure

Okay.

Indicating a few more:  And here, here, Taurus Taurus!! And over over there, there,Sagitt Sagittar arius ius!!

Turning and pointing toward a spectator in the center, exclaim:  And you, you, the answer answer is yes! yes! Yes! Yes! YES! YES! But you must must use  judgm  judgment ent.. Your Your timing timing will will becom becomee of utmos utmostt import importanc ancee for  the fruition of this endeavor. And that answers the question you have in your mind, doesn’t it?

* This (along with the 3-card monte, the safety pin, Copper/Brass/Silver, etc.) IS the disclaimer, folks. If someone is still  a ^believer 5  after these effects have been performed, then they have  problems I cant fix. Besides, as IVe stated in the past, are we going to create and perform magic to make the smartest among us dream or are we going to play the game to keep stupid people safe? I dont believe these people (or anyone) should, nor do I want them to, measure our circumferences. Honestly, contrary to popular opinion, I doubt any magician has caused anyone to really  change their beliefs, though many of them certainly wish they could. t These are the two most popular names from 1916 to 2015. Play the odds!

218

to replace the rubber bands after you have performed with the Octopus Deck several times. The bands, worn thin over time and use, may accidentally break during a performance causing the deck to fall to the floor, revealing the secret.

Card Guard It is advised to have a metal card guard around the deck when you are not performing with it. During the second phase, the cards will get  bent when the participants peek at them. By keeping the deck secure in the card guard between shows, the cards will be straightened. If you live in an exceedingly humid environment, it is best to keep the deck with the card guard ：

on and in a Ziplock bag. Before a performance remove the card guard so that your audience does not see it—removing a “normal” deck of cards from a  bullet-proof metal container is sure to excite the wrong kind of curiosity. C hoosing Partic Participants: ipants: Because the Octopus Deck performance relies heavily on audience participation, you must select your helpers wisely. It is best not to select a volunteer who wants to be the life of the party. This type of  person can be very entertaining at times, but they re usually more interested in what people think of them than in complying with your instructions. EasyBascom Jones, < Magic  Magick, Issue 63 (1972), p. 314.

Th e  Oc t o p u s  Dec k  Th e  Do o r s o f  De c e p t i o n

going, pleasant, and compliant individuals are best. Also, be very clear when you are instructing spectators on stage. If your spectators make a mistake or mess up the effect because of your muddy communication, there is no one to  blame except...

Unwilling Participants: Occasionally, I have encountered spectators who do not want to reveal what they were thinking or answer any questions during the  pumping sequence. If it is a paid gig and this happens, I will politely tell the spectator that I will no longer be needing their assistance and escort them back to their seat and bring someone else up to assist. I dont have time to play games when there is money involved. If Гт at a party or out with friends, and someone doesn’t comply, I will get the audience to coerce them into  participating. I usually do this by saying, aWell, if you dont answer me I cant continue . . . and I think most people here want to see what happens next/5

they see the King of Diamonds, you can say,
Strolling Performances： The Octopus Deck is great to use in a walk-around situation because it has no reset and can be used with or without the deck switch. Because the top half of the deck is made up of indifferent faces, you can casually fan the top half to show that the cards are ccwell mixed and different from one another.w  A casual overhand shuffle of the top half of the deck a couple of times during the routine is also a good habit to get into if you dont need to preserve anything because it indirectly proves the deck is normal and in no particular order.

 The Prem Premonit onitio ion n： Six duplicates of the six-card bank, with backs contrasting the Octopus Deck, are placed in your regular wallet or in one side of a Himber wallet if you want to get really sneaky. After the questions are asked, and you know what their card is, you can remove your wallet, explaining that you had a

er  Th o u g h t s Fu r t h er

 premonition of the card they would think of. Remove the duplicate from your wallet and place it on their hand. Ask them to name their card, and then you

Bill’s Phase 3: In Bills original Octopus Deck routine, he uses the third  phase to make some divinations. The Octopus Deck is switched for a two-way forcing deck (with an Ace of Spades on the face for consistency) that has a short card in the center to facilitate their separation; this short card also functions as a cover card when the deck is cut. Two participants are invited to each place one half of the d^ck into their pockets. They are then each asked to take one card from the middle, without looking at its face, and move it to another pocket. The remaining pocketed cards are gathered and boxed. Since no one knows the selections, the magician cannot resort to reading minds; he instead writes his impressions on a couple of slates. The cards are removed from

can dramatically turn the card over. With the Himber wallet you can now

the pockets and the divinations are revealed to be exact matches.

cleanly replace the card into the empty side of the wallet, too.

 Two Minds Minds wit with h But But a Sing Single le Thou Though ghtt: Seat a couple from the audience in two chairs on stage facing one another. Shuffle the Octopus Deck and then wrap the rubber bands around the ends of the pack. Hand the pack to one  person to peek at a card, noting which card he peeks at by the positions of the  bands. When you pass the deck to the other participant, simply turn the deck end for end and place it into position in her left hand and have her peek at a card. In opposite pockets you have indexes from a jumbo deck that match your force cards. Finger palm one of them and position yourself behind the  participant whom you know is thinking of that particular card. Ask the

 Tossed  Tossed-Ou -Outt Deck Deck:: The Octopus Deck can be used for a standard Tossed-Out Deck routine. Using the Octopus Deck instead of the standard three-way forcing deck has two advantages. The first is that you can slowly fan it toward the audience to show “all different” cards. The second advantage is that during the peeking sequence you can keep an eye on which force card is being seen by the participants (as described in phase 2). You can then make direct statements about their particular cards: e.g., if someone saw the Seven of Clubs, you can

significant other in the opposite chair to look deeply into her lovers eyes. Now you hold your hand with the palmed index so that she can clearly see the cards identity. When this happens you need to accompany the physical action with a line such as, £CYou should clearly see one card on his mind but dont reveal it yet.55  You can then slowly get her to divulge the card in stages: color, suit, and value. You can then do the same with the other spectator. A nice cheesy concluding line for this routine is “There is no greater truth than love!”

say, “I see a number card that’s somewhere in the middle; a black card if 

221

Th e  Do o r s

Th e  Oc t o p u s  De c k 

o f  De c e p t i o n

Ultra-Mental Deck (a.k.a. Invisible Deck): H ave an Ultra-Mental Deck sealed in an envelope and hand it to a spectator for safe keeping. Have another spectator look at any card in the Octopus Deck (showing the bank of six of course). After the pumping sequence, when you know the card he has selected, tear open the envelope take out the deck, show that there is one card reversed, and place it face down on the participants open palm. Ask him to name his freely thought-of playing card. It is a match!

Devano Rising Cards: You can have a telekinetic ending to the Octopus routine using a one-way force deck and Hie Devano Rising Cards. Have a duplicate of the force card uready to rise>,  in your Devano Deck, which should  be in the card case and in a pocket that is not being used for the Octopus routine. Once you have performed phases 1 and 2 (and having rung in the one-way pack), have the spectator remove a card from the middle, and place it face down on the table or his hand. Remove the prepared Devano Deck, and have the spectator hold the open box in his hand. Slowly, the card will rise out, and then you can dramatically reveal that it matches the card he chose.

A His t o r y o f  In f l u en en c es es ：  Fr o m t he  Bank t o t he  P ump The Octopus Deck is something Bill developed over several years. Those who influenced the construction of the Octopus Deck include Richard Osterlind, David Hoy, Max Maven, Ted Lesley, T.A. Waters, Juan Tamariz, David Ben, Audley Walsh, A1 Baker, Gene Grant, Docc Hilford, Theo Annemann, and Edme-Gilles Guyot. Many people believe that it was Edward Bagshawe who first published the concept of the “banked” deck: Bagshawe used a bank of thirteen cards repeated four times, and the cards were marked on the backs with numbers 1 through 13 (Ace = 1, King =13, etc.). However, Denis Behrs Conjuring Credits database shows that over a century and a half earlier Edme-Gilles Guyot described a trick that relies on a deck made up of six cards repeated six times.-*A three-bank force deck made of blank-faced cards with the names of cards written on them is described in K The Prophetic Billets55  from R.P. s  Ein Spiel Karten  (1853), p. 34 of the Pieper translation. This deck also contains a group * Edward Bagshawe, U  A Spirit Divination Mystery/1 Exclusive Problems in Magic(1924), p. 43. t Edme-Gilles Guyot,  Nouvelles recreations mathematiques et physique^ Vol. 3 (1769), p. 221; William Kalush has found earlier mentions of banked decks in several sources, but his research is, as yet, unpublished.

of mixed cards on the face to suggest the deck has an assortment of card names. This type of forcing deck is sometimes attributed to Tarbell due to its inclusion in The Tarbell Course in Magie, Vol. 1 (1941), p. 264. It is clearly much older. The next influence is Audley Walsh’s effect, “The Magician’s Dream.”* What was revealed in this effect is the concept of the K  pump,M  because you are  pumping the information out of the spectator like a detective c pumps， 5 a suspect or informant. Juan Tamariz attacks the banked deck with appropriate gusto in his ''Miracle Divination (a la A1 Koran) Tamariz has interesting suggestions regarding the choice of participant for the pumping deck. The person you choose for the trick will directly affect how hard or easy it is to derive the selected card from athe pump.55  For example, an experienced poker player will give you a harder time—maintaining a poker face during your questioning. A girl who is too expressive (always laughing, making comments, etc.) might unintentionally make it too obvious for the rest of the group that she is helping you. She may even name the card! Tamariz says that you should select a female assistant, if possible, who is compliant and also someone whom you have uwon over” with your confidence. T.A. Waters’ “Trionic” has some terrific work on how to execute the pump.* Waters notes that the pumping sequence is about asking the spectator questions, but it shouldnt seem like it. According to Waters, you must adopt a relaxed, confident attitude and not be in a hurry. His first approach is one of the best in the literature. K Youre not thinking of a red card, are you?J， It is the inflection of this question that is so important. You must ask it, as Waters states, as if you are saying, aYoure not trying to pull one over on me are you?55 With this inflection, the question can be taken either way and interpreted as a statement. Waters goes on to explain that the responses to your “pump” by the  participant will be either positive or negative but will not always be verbal responses. In many cases you will go by facial reaction, or lack thereof. Richard Osterlind’s “Radar Deck” was marketed as a small pamphlet and more recently was performed and explained on volume one of his  Mind   Mysteries  DVD set produced by L&L Publishing. The beauty of Osterlinds routine is in the brevity of the questions/statements during his pumping sequence. This is due to Osterlind s clever handling at the outset of the routine when he has three spectators stand and tells them to think of any card that they * John Northern Hilliard, Greater Magic (1938), p. 346;  see also Theodore Annemann, The Jinx.,  No. 43 (April 1938), pp. 297 & 298 and J.G. Thomson,  My Best (1949), p.l 19. t Juan Tamariz, The Magic Way (1987, 2014), pp. 71-79. ф T.A. Waters, uTrionic,,> Mind, Myth & Magick (1993), pp. 69-86.

Th e  Do o r s

see; then, in Osterlinds words, a. . . to reduce the chances that you could think of the same card, I would like you [participant one] to think of a red card, you [participant two] are to think of a black card, and you [participant 3] are to think of a red card.” This completely eliminates the first question of the pump (red or black), and by using several people, Osterlind is able to make one statement and then watch the reactions of all three spectators to deduce what cards they have in mind. More pertinent to our concerns here, Osterlind goes on to explain that using several people negates the idea that you are using stooges or that you are using a trick deck of cards. Ted Lesley has a wonderful section on the banked deck in his book Paramiracles  entitled

wDream

Th e  Oc t o p u s  De c k 

o f  De c e p t i o n

Decks,and he has a lovely handling tip for its

use. He states, you can £< begin by casually fanning it and turn the face of the fan toward the audience. Keep it in unhurried but continual motion as you make a sweeping display from one side to the other . . . When the deck is kept in gentle motion as described, all one can perceive is a somewhat blurred

The fact that these decks are glued, and not constructed using roughing spray, means they can be overhand shuffled quite easily, even by a spectator. In A1 Bakers effect, wDouble Thought,w* the cards can be overhand or riffle shuffled face up so that the cards can be seen as completely different. The spectator takes the pack in his own hands and while the performer turns his  back, or leaves the room entirely, the spectator opens the deck anywhere he likes, looks at one card, and squares the deck. The magician gives the deck to a second spectator who does the same, noting another card. The ability to have the deck openly shuffled and two cards forced, rather than just one, is the real  breakthrough in this forcing deck. A final influence on the Octopus Deck is Docc Hilfords Cassandra Deck, which utilizes a bank and the 1-0-1 principle in a fantastic way. In his booklet Fem Fatal.. 64 Sinful Secrets of the Cassandra Deck   y  Hilford outlines several

terrific routines that can be used with a banked deck. This deck and booklet are well worth investigating.

impression of mixed cards.”

The Divided Car d C ards 1-0-1 The 1-0-1 Deck is a deck of cards in which indifferent cards alternate throughout repeating banks of four different force cards. Duplicates are eight cards apart and the deck can be dealt face up (even onto a spectators palm) without the alternating four-card bank being discovered. While often attributed to Koran, the 1-0-1 Deck S^as actually invented by Harry Lorayne (although it is based on ideas that go back at least as far as the 1920s). Lorayne first  published the idea in a trick called K Five Star Miracle,5  in his  Best of Bill-Fooled  (1958), p. 44 and later redescribed it in The Himber Wallet Book   (1998), pp.

The use of divided gaffed cards is quite old. Research shows that one of the earliest indications of its use for sleight of hand purposes was in 1593, and again, not long after, in 1612+ You also find this type of gaff described in the  popular book  Les Secrets de la Prestidigitation  by Robert-Houdin (1868) in his famous routine “Protean Pack of Cards.” Brilliant magicians like Professor Hoffmann, Ed Mario, Jon Racherbaumer, Allan Ackerman, Bruce Cervon, John Thompson, Karl Fulves, and Roy Walton have also played with this type of card gafF. Youre urged to seek out their work, and be inspired by their smart thinking.

27-31. The Tel-O-Matic Deck and the Psychomatic Deck are marketed peek decks that are both used to force a card. The Tel-O-Matic is made up of pairs of cards glued together in the middle with the back card of each pair being all the same

And now we move into the grand finale, the coup de grace, the magnum opus,

while the face cards are all different. The back card is longer and extends beyond

the piece de resistance ...

the indifferent cards at each end (which is the opposite of a Svengali Deck). If you riffle or lift a card on either end, you will see the force card. The Psychomatic Deck is also made up of pairs, but they are glued together at one end of the deck. The deck can be riffled from one end and shown all different, but when a

* A1 Baker, The Secret Ways of Al Baker (2003), pp. 411-12.

spectator peeks at a card from the other end of the pack, they are all the same.

t Magic Christian,  Non Plus Ultra, Vol. 2. (2013), p. 69 [citing Horatio Galasso, Giochi di carte  bellissimi di regola, e di memoria(1593) memoria (1593) as a 16th-century work featuring divided cards]; see cards]; see also Sa Rid, The Art of Juggling [or Legerdemaine] (1612), Legerdemaine] (1612), p. 26 (using divided cards to cleverly transform Kings into Aces).

* Ted Lesley, Paramiracles Lesley, Paramiracles (1994), pp. 117-20.

224

225

P leased to meet you Hope you guess my name But what's puzzling you Is the nature of my game -The  Ro l l i n g  St o n e s

SYM YMPAT PATHY (F (FOR THE DEVI DEVIL L) C ARDS or Cart Cartas con con Simpatia Diabolic Diabolica a  Adams

Curry

Milton

A participant cuts a random packet from a shuffled deck, and the magician divides it into two piles. He may need to add or take away a card, but even this decision is left to the random whim of an audience member. One of the piles is chosen and several people rearrange it with a series of random decisions. Despite the apparent chaos, the magician shows the two piles are mysteriously in the same order. To push the mystery even further, the magician has someone select either pile. He takes the chosen packet and allows members of the audience to mix it even more, using one random decision after another. Once they’re satisfied with the disorder they’ve created, the performer asks one of them to enter the first ten values into his cell phone and hit "call." It seems impossible, but the magician’s phone begins to ring.

It started out with a phone call from Bill Goodwin. In his research he had come across a devious and obscure idea and thought I might be able put a presentation to it. He went on to describe Howard Adams’ DEALFLIPDROPCUX卞   and he was right: the simple principle was devilishly deceptive and needed nothing more than an engaging presentation to unleash its fiill power. Around the same time, John Thompson had given me a handful of Paul Currys material to review. This combination of material prompted me to develop the following routine. The Sympathetic Cards plot comes from the mind of Herbert Milton. His routine first appears as “Sympathetic Clubs” in Greater Magie,  where it is mistakenly attributed to Nate Leipzig.^ Since then many versions have seen print, * * Or, as dubbed by The Great Tomsoni, K Vigils Sympathetic Cards (Sans GafRis).,> * Howard Adams， OICUFESP

ф John Northern Hilliard, Greater Magic  (1938), pp. 562-63; but see  Theodore Annemann, The The  Jinx,  Issue 53 (February 1939), p. 380 (giving credit to Milton); see also  Lewis Ganson,  Dai  Dai Vernons Tribute to Nate Leipzig (1964), pp. 176-80 (citing an Ellis Stanyon effect as a precursor).

227

Th e  Do o r s o f  De c e p t i o n

notably those by Derek Derek Dingle， * Larry Jennings, J6rg Alexander Weber， Weber， * James Swain夕  and Helder Guimaraes.* * * § ** * ** However similar it may be to its predecessors, the routine below feels more like an experiment in Jungian synchronicity than a card trick. After removing the rubber bands from the deck (which apparently has been examined and shuffled throughout the rest of the show), the magician performs a stunning  piece of sympathetic magic. By the end he has proven his opening premise: the mystery maker has  controlled the thoughts, decisions, and physical actions of every participant.

er   o f   Ch a o s Th e  Or d er Lets go over the main principle for the initial phase right now. I think this will  be easiest to grasp if you take an Ace through Ten of any suit and put them in sequential order. For this trial run it will not matter if they are ascending or descending; it will work either way.

Sy m pa pa t h y  (f o r  t h e  De v i l ) Ca r d s

Go through the procedure a third time, executing the DEALFLIPDROP sequence. You now have completely mixed the cards in every possible way. No one could possibly know the order, right? Well, I do. Some cards are face up and some are face down, but they re in t he same order they started in.

Se t u p For the following explanation I will presume that your cell phone will act as the final prediction * For this, place the cell phone in your front right trouser  pocket and have the cards stacked accordingly. accordingly. The order of the deck is predetermined by your final prediction, whether its a phone number, the combination to a lock, a calendar date, or dictionary entry. I have a cell phone number that happens to have two duplicates in it, which is  perfect. If your number has a digit repeated, it will work as long as the number appears no more than twice: the decks four mates can represent each value twice; zero, represented by the pair of Jokers, however， can appear only once 卞 .

Adams5  principle originally called for the cards to be dealt, flipped, dropped, and cut; hence the title. For this routine you will use only part of that sequence, specifically, the DEALFLIPDROP portion. The CUT part is strong,  but it doesnt quite fit here; therefore, you will exclude it. Get ready! Youre going to fool yourself the first time you try this.

If you want the ending order to be, for example, 3-2-1-4-5-6-9-8-7-0, the cards would be placed, from the top down, in this order: X, X (these can be any mates),+ 3H, 3D, 2S, 2C, AC, AS, 4D, 4H, KH, KD, 6D, 6H, 9C, 9S,

Start with the ten cards face down and deal a few, one at a time, to the table in a pile. This can be any amount you wish. When you stop,/flip the remaining cards face up and drop them brito the tabled cards. As you can see， see， you have created a break in the sequence, and its location was determined by your own free will.

Because the cards remain in the same order, you can have these come out as any type of prediction you want; simply use the amount of cards that correlate with your predicted numbers. Using this with a phone number works well  because the revelation requires only twenty-two cards (ten pairs for the phone number and two cards for the pair that will remain in the wine glasses). This gives you a buffer on the audiences initial cut from between twenty-two cards

Pick up the pile and repeat the process, first by dealing to the table as many cards as you wish. You can see this process is not only breaking the sequence, its also mixing the cards face up and face down. After youVe dealt soiyie cards, flip the remaining cards over and drop them on the pile of dealt cards.

* Richard Kaufman, ^Sympathetic Cards,M The Complete Works of Derek Dingle (1982), pp. 150-53. t Mike Maxwell, t£LJ. on Leipzig s Sympathetic Cards/ 5 The Classic Magic of Larry Jennings (1986),  pp. 201-05.

8S, 8C, 7H, 7D, Joker, Joker, followed by about ten more pairs of mates (in any random order), leaving about a dozen mixed cards on the face.

to around forty (as the bottom dozen cards are not paired, so that you can subtly display the deck as shuffled before the effect begins). Placing the cards into separate wine glasses slightly to your left and right creates a beautiful framing. Using the cloth from £
* 5^ Luke Jermay, aPhone Prediction,Walls & Bridges (1998).

§ James Swain, ^Sympathetic Thirteen/> 21st Century Card Magic (1999), pp. 131-34.

t The only other exceptions are the numbers 5 (which can be represented six times) and 7 (which can be used four times). Because J and K on the dial pad of a phone are on the 5 key, Fives can be represented by: the black Fives, the red Fives, the black Jacks, the red Jacks, the black Kings, and the red Kings. Because Q on the dial pad of a phone is on the 7 key, Sevens can be represented by: the black Sevens, the red Sevens, the black Queens, and the red Queens.

** Helder Guimaraes,, Ontology Project (2011).

Ф As you 11 see, I choose the red Queens (for purely aesthetic reasons). reasons).

ф Thomas Fraps Fraps (1998), p. 92.

228

&  Helge

Thun,

c
Sympathetic Ten/ 5 The Book, or Dont Forget To Point,

Sy m p a t h y  (f o r  t h e  De v i l ) Ca r d s

Th e  Do o r s o f  De c e p t i o n

Me t h o d If youre following the big picture, you'll have apparently ended the show with a dazzling series of mind-to-mind communications. At an opportune moment (during applause or right before “Astro-Logic”)， “Astro-Logic”)， ring in the “Sympathy (for the Devil) Cards” pack from the right rear pocket. As in the ditch above, there are a few things you should consider in completing this time-misdirected deck switch. For instance, one subtlety to use is to apparently pat down your pockets, as if youVe forgotten where you placed the pack; then move both hands to their respective rear pockets. Bring out the cooler from the right pocket, but while the hands are still behind your back and under cover of the jacket, transfer it to the left hand before its apparent reappearance. Practice this maneuver until it becomes second nature. The actions of the earlier ditch and current retrieval are practically identical, and the packs are perfect mirrors for one another. The matching rubber bands and the Aces of Spades on both decks 5  faces add visual shade and misdirection to convey the perceptible consistency.* Just do it. Dont try to be sneaky. During the ditch, the audience should be interested in how you are revealing the last participants thought-of card and not   in the deck itself. Moments later, the show is apparently over. Youll be wrapping up all the loose ends: thanking your participants for their help and the rest of the audience for their attention, wishing everyone a continued good

evening and safe travels to wherever they may be going next,/etc. This is more than enough misdirection f^r the clandestine retrieval. Place this newlyintroduced pack onto the table. Then, check the ti me on your watch:  By a round of applause, is there time for one more?

Of course there is! Youre so generous. And this is perfect. Fve had a chance to show  you some magie and I’ve had a c hance to show you what l ooks like mind reading, but before we part company, what I’d really like to do is just leave you with a little piece of mystery)

en t a t i o n & P r e s en

 If things turn out as I expect they will, everything that has happened so far tonight will be very relevant when we get to the end. Indeed, we may get an answer to the question I asked  earlier. Do we really have freedom in the decisions we make? I  would like us to examine this question, which scholars and   philosophers and ... hairdressers have asked for centuries. In other words, is life controlled by fate or is there anything we can do to alter lifes course? Let's try a brief experiment*

Remove the rubber bands from the pack, take the deck face up, and spread over about a dozen cards as widely as possible, showing their random and mixed condition. You dont know the order of these cards, do you?

Close the spread, you 11 now want to give the deck a false shuffle (that follows in look and feel those that have come before):

K o pf 's  Fa l s e  Sh u f f l e o r  The  Do u bl bl e  Optical  Sh u f f l e I favor a variation of the Optical Shuffle*' by Jared Kopf. Briefly, begin by holding the cards in overhand shuffle position in the right hand. Chop off about a third of the cards into the left hand. In the second action of the shuffle, chop off another third into the left hand but simultaneously steal back the initial third of the deck. These stolen cards will naturally not align completely with the right hands cards; their position, however, will be invisible from every angle but the performers. From this position perform three or four false running peels, i.e., with your left thumb, mime the action of peeling cards into the left hand but dont actually take any. During one of the false peels, throw the right hands rear packet (the cards that were previously stolen back) on top of the left-hand packet. Without pausing, perform a few more false peeling

* These latter lines, as well as a few others in this presentation, are adapted from Rick Maues wonderful routine “FATE”（ 2005) and appear here with his kind permission. * If you really feel the heat is on, you can even flash the top card (the Queen of Hearts) as you re expounding. 个  A lovely transitional line from my friend Chris Korn.

t See e.g.,  Jared Kopf,  Nothing hing But But the Family Family Deck   (2013, 2016), pp. 9-11; cf. cf.  John Northern Hilliard, Greater Magic  (1938), pp. 167-68 and 189 (describing a similar shuffle and control by R. W. Hull).

Sy m pa pa t h y  (f o r  t h e  De v i l ) Ca r d s

Th e  Do o r s o f  De c e pt pt i o n

actions. Then, as youre making the final toss of cards, rotate both the right and

 How many cards would you say you cut there?

left packets face up, throwing the remainder in the right hand face up onto the face of the pack. The deck is in the same order in which it began.

The spectator answers with a guess.

Once finished, place the pack face down onto the table. Well, I can tell you exactly how many you cut  y  Steven. Do you There is no way that anyone could know. Larry, you shuffled 

want to know?

them. You did, too, Michael. Really, with what Im about to show you, it wouldnt matter if I knew their order. I point this

 Exactly as many as I wanted you to! Should w e find out?

out for those who are mathematically inclined: because of the shuffles, you know that the cards have probably never been in this order before, nor will they ever be in this order again ... at 

Take the pile of cut-ofF cards and count them face down to the table, reversing their order.

least in all likelihood. 1, 2, , 4, 5 ... 24, 25, 26 and 27! Perfect! That’s about half.  As you c an see, I try to use as many peopl e as I can, and Im not 

See, as I said “Exactly as many as I wanted you to.” Mark my

here to make fun of anybody, or make anyone look bad; and I 

words. I know that sounds ridiculous right now but when all is

haven’t used you yet. Whafs your name?

said and done, I will prove myself correct.

 Hi, Steven.

To tell you the truth, I am not concerned with how many cards  you c ut. You see, we are going to play a littl e game y and I dont  want you to accuse me of not playing fairly. What's important 

P ar t  1 ：  My  Co n d o l e n c es es  I’d like to show you a piece of synch ronicity. In case you don’t  know, synchronicity is a coincidence which I control. *

here is that we have an even amount of cards to play with.

If an even amount of cards has been cut, you will not need to say the next few lines. In our example here, however, weVe assuming an odd number has  been cut from the pack. So, you would say:

 Let me start off by having you cut about hal f the cards to here. Youve cut off twenty-seven cards. So, now you get to make

Mime cutting some cards off the deck and setting them to the side. The  participant reaches over and does just that.

another very important decision. To make this pile an even amount, do you want to take a card away or add one to your   pile?

Perfect!

If he takes one away, it gets rid of the stranger on top. If he decides to add Since the phone number is ten digits, and because you also have the pair of cards that will remain in the wine glasses at the end, the participant must cut at least twenty-two cards here; hence your request for him to cut 'about half.55

 ,Premiu mium Blen Blend d Set, Set,  Vol. 1, Totally Mental * These lines are from Dan Harlan, ^Natural Selection ,Pre (2003). As the ever prolific Mr. Harlan relays to me: K I just wanted a line that set up the need for the ‘procedure.’” As you can see, so did I.

232

one instead, he will still create a mated pair on the top of his cut-ofF pile  because the pile was reversed during t he previous count. Let Steven decide and then respond with:  Ha! That’s funny. That’s exactly what I thought you would say!

233

Sy m pa pa t h y  (f o r  t h e  De v i l ) Ca r d s

Th e  Do o r s o f  De c e p t i o n

All this is doing is setting up red herrings——bombarding the spectators with

Deal four or five cards face down to the table while you continue:

trivial details and inconsequential choices, which only seem important. You .. .u nt il you feel feel happy happy.. And т not happ happyy until until you you re re happy. happy.

now have a complete pile of mates, and it has come together through the

 Just deal until whe never you wa n t . . . and then stop. Wherever 

 participant s free, but frivolous, de cisions.

 you decide to stop, I want you to simply take whatever is lefi,

Set the remainder of the deck aside. You will not be using it in the rest of

 flip them over， and then drop them on top. Easy, right?

the composition. Pick up the mated pile, hold it face down in dealing position, and deal the cards alternately, forming two even piles on the table.

Following your instructions, flip over the remaining cards in your hand and Usually, when you play a game, the cards would be dealt back 

drop them on top of the pile you dealt.

and forth. As you can see I am dealing them left and right  because you are going to make yet another very important 

 But, Steven, we wont stop there. Oh, no no, because then well

decision.

have someone else mix them, too.

Once you finish dealing, say:

Pick up the cards without turning them over, and hold them in dealing grip.

 Before y ou decide which pi le you would l ike to play icthe game'  withy I want you to know that this isn’t a trick question.

Whoevers next will do the same thing and mix them by

Whichever pile you touch is the one you get to play with, and as

dealing down until he feels like stopping. Then hell take

with your previous decisions, you have a completely free choice.

whatevers left, turn them over, and drop the rest on top.

So y which one do you want to play with?

Suiting actions to words, deal about three or four more cards down to the Finish by nudging either one of the two piles a little closer toward the

table, turn the rest over in your hand, and drop them on top, too. Notice that

 participant, making him feel as if this is the pile you want hjim to choose. As

you have explained the DEALFLIPDROP procedure twice, but in a moment

 before, all of this is smoke tp get people focused on seemingly important

the participants pile will go through this process three times (possibly more).

details, which really will have no effect on the proceedings. As soon as he touches one, say:  Excellent! I knew that you were going to pick that one. You can

 And then, maybe, we will let someon e mix them too.

Pick up the tabled pile youve just cmixed 55  and place it into the wineglass

 just leave your pile there on the table for a moment. Please let 

on your right. Its important that you pick it up by its far end, and let the

me explain what you are about to do next. First Steven, you are

 packet pivot so that the end closest to you can slide into the wineglass glass

going to get a chance to mix the cards.

DEALFLIPDROP

Take the pile of cards he didnt choose and hold it face down in dealing

first; in other words the top card here goes to the back (nearest you).*  I will not touch these again.

Take out your handkerchief and cover the cards in the glass.

 position. To do that, I want want you to take the the cards and deal deal like th is .. .

234

* This exact placement will allow you to control the drama of the final revelation by having the last cards back pointed toward the audience.

Sy m pa pa t h y  (f o r  t h e  De v i l ) Ca r d s

Th e  Do o r s o f  De c e p t i o n

c  mixed,55  you will keep track of the packets orientation with the ODD/EVEN mnemonic.*

 And neither will you.

While this covering of the cards is not crucial to the workings of the effect, I do believe that it is necessary. Why? Because it will allow a moment for the magic to occur. If these cards are not covered, even for a moment, I feel the effect becomes more of a coincidence and less a display of some kind of power you may have. Let Steven pick up his chosen pile and begin the DEALFLIPDROP sequence.

 My openi ng question to you was a simple one . It deals wit h the choices that we were all a part of a moment ago. Simply put, do  you believe that each one of us is truly in control of our lives?  Do we make the decisions that actually dete rmine what hap pens to us?

Once Steven has finished, you will request that he indicate someone in the room hes never met. This next person (lets call him Terence) comes forward and he, too, “mixes” them with the DEALFLIPDROP procedure. Once Terence has finished, ask him to select a person he does not know. This third  person (say, Ulysses) comes forward and also 'mixes55  the cards for what should  be the last time (though, if someone else insists, its no problem, as you will see).

 Before you decide, maybe you should ask yourself a few more questions. Is it possible that everything that we experience has already been predetermined and we are simply programmed by something like fate? Or, if fate doesn't control what occurs in our lives, is it possible that others can influence our choices in such a way that they can actually control what we do?

I've used the following lines for a number of years to keep open the  possibility of one more person “mixing” the cards, and yet to effectively stop the procedure from continuing.

 In truth, both possibilities

are a bit unnerving, if not 

 frightening~and yet, I would like to show you something that I   find completely fascinating. I need not remind you that I have

 If there is anyone left in this room who doesn’t believe these

not touched these cards under the handkerchief, in the dark ... ...

cards have been brought into a random order, now is the chance

Remove the handkerchief and replace it into your breast pocket. Take from

to satisfy yourself. Or may I move on?  / 

You will pick up their pile and place the cards into the empty wine glass,  but the orientation of how you put them in will depend on if the cards were mixed three or four times. On the (very) slim possibility that someone does demand to go through the sequence another time (and happens to bring the total to four <  then the packet will have to be placed into the glass in the orientation opposite to the one above. To place their cards correctly, take the pile by the outer end and place it into the glass, thus positioning the bottom card of the tabled pile closest to the audience. Lets call this contingency “EVEN.” The mnemonic I use is EVEN=IN: because the procedure was performed an even number of times, the top card should face in.

each glass the two cards nearest the audience, one in each hand. The two cards will be matching in color and value. Lets assume they are the Seven of Hearts and the Seven of Diamonds. When we began the cards were shuffled, and I let you cut them wherever you wanted. At the time, you thought you had a free choice, but then I told you that you cut exactly where I wanted   you to. And you thought I was j ok i ng . ..  If I turn over these two cards an d they’re both red, that could be brushed away as a coincidence; but if I turn them over and they are both red Sevens, that would be something amazing.

Thinking of their pile as either ODD or EVEN makes it easy to keep track of its orientation. The total of DEALFLIPDROP procedures affects this binary, as does the pile being flipped, which may inadvertently happen as it is passed from one spectator to another; either of these actions will require you to switch your mnemonic from ODD to EVEN and vice versa. As the cards are being

*  While this may appear complicated in print a few trials with cards in hands will convince you to

how the mnemonic is quite easily applied; after all, the pile can only be one of two ways.

237

Sy m pa pa t h y  (f o r  t h e  De v i l ) Ca r d s

Th e  Do o r s o f  De c e p t i o n

Turn both cards around and display them at chest level: they are perfect

Then I let you mix them, Steven, in whatever order you wished.

mates. Table both cards face up, one in front of each glass. Then take the next two cards from the glasses, one in each hand.

 And I let you, Terence, do the same thi ng.

If the initial cut produced an odd number of cards, be sure to remind them:  Is it possible to control other’s actio ns?  And if you remember correctly I next asked if you wanted me t o add some cards or take some away.

Theres another harmonious pair.

Turn the two cards around, showing a flawless match, and then set them

 And look, behind the red Eight s, the two black Threes.

onto the previously tabled mates. You don’t feel you were influenced in any way, do you? Then I dealt the cards out and gave you yet another decision. Ulysses, you had a chance to mix them, too.

Again, take the two outer cards from the glasses and show that they match. Could this be a coincidence?  I told you that you could play wit h either pile, but that you  picked the exact one I want ed you to.

Sometimes the stars do align.

Set them down onto the others and then continue to remove and reveal matching pairs of cards.

When the cards are exhausted, and only the final pair remains, pick up  both of the wine glasses by the stems. Remember: you were able to control

I reserve one of my favorite lines for the first moment that two cards are  pulled out of the glasses, but one face s you and the other faces the audien ce. Oh, a mistake?!

your pile so that the last card is always facing you; but if need be, spin their glass so that both cards face you. Or maybe Im a Master Magician.

Turn whichever card is facing the audience toward you so that the audience is seeing the backs of both cards. Let out a sigh.

Slowly spin the glasses by the stems, simultaneously turning both cards5 faces toward the audience, lifting both hands up and out. You are now in an applause position.

 No ...

' 

Turn both faces toward the audience. ... Perfect!

P ar t  2：  Can  Yo u  Hear  Me No w ?

Leave these last two cards in the glasses as a nice visual reminder of what has transpired (this is why the extra set of mates were added on top of your stack).

The number of lines you get to use is contingent on the spectators initial cut, which will determine how many pairs of cards are in the wine glasses. Here

The audience will think the effect is over, but now we are really going to hit their intellects with Thors hammer.

is a sample of some phrases I say as further pairs are revealed.

238

239

T h e  D o o r s

o f  D e c e p t i o n

S y m p a t h y  (f o r 

 Even  Even though though it appea appears rs that that all of this this was was prede predeter termin mined  ed   pleas  pleasee

unders understan tand d

that that

it

could could

have have

happe happened ned merel merelyy

t h e  D e v i l

) Ca r d s

Take the chosen pile into dealing position.

by

chance. It’s highly unlikely ... but possible. Even that is a little unsettling, isn’t it? While you ponder that, please allow me to

 Let’s  Let’s push push the envelo envelope pe and and mix them them one one more more time time to satisf satisfyy the skeptics.

mention one last thing. Should we try something really crazy? i n d l e  Sw i t c h Sw in

Could I ask you to make another decision^

Indicate someone who hasn’t been involved yet. What’s your name?

With the cards held face down, deal the top card to the table. Begin to deal the next card but stop and ask someone who hasnt yet been involved: Would you like me to deal this card or switch it for the next  one?

Turn the two piles of cards face down. Let s say the participant tells you to switch it for the next card. Take the top WelL Victor   y now that you know the name of the game, try not  to let me influence you. Which pile would you like to use?

card and slip it under the next, then pick up both and drop them onto the  previously tabled card. This is Paul Currys wonderful Swindle Switch,* which, counterintuitively, does nothing—it merely reverses the two cards before you

As before, this is a totally free, but frivolous, choice: both piles are in the same order.

set them down, but they would have been reversed in exactly the same way had you dealt them down normally, one at a time. Incidentally,

That is exactly the pile I wanted you to choose!

Continue Take the unchosen packet and place it face down on top of the deck proper.

Currys

wonderful

technique

will

also

bring

your

ten

 prediction cards from the bottom of the pile to the top. to

deal

through

the

packet

in

this

way,

allowing

other

 participants to have the cards switched whenever they choose. I should also mention that each time youre told to switch, you should out-jog the slipped

 Does  Does anyon anyonee in in the the room room have have a cell cell pho phone ne that that gets gets recep receptio tion n in in

card. This will create a staggered row of dealt cards, apparently to allow the

here?*

audience to see each location where the sequence was changed. This wonderful touch comes from Tony Picasso 卞 •

You sir, have we ever met before?  No.  No. And And nobody nobody else else has has appro approach ached ed youto help help me me out? out?  No,  No, they theyhaven haven t. Excell Excellent ent.. What's What's your your name, name, sir? sir?  I’ll  I’ll be be back back to you in just just a secon second d Willia William. m.

* Remember, you should also check your phones reception before the performance to make sure the call will go through.

240

 Epilogue^  Issue 21 (1974), p. 197. * Paul Curry, ^Swindle Switch, Epilo

t Personal communication.

241

T h e  D o o r s

S y m p a t h y  ( f o r 

o f   D e c e p t i o n

When youve run out of cards, say:

t h e  D e v i l

) Ca r d s

dissimilar things appear, they are all linked, someway, somehow.  And that's that's really really the essenc essencee of magic: magic: that that there there are no

William, I’ll turn over these cards in the order our friends have created. As I turn them, enter each number into your phone.  And,  And, as we do this, this, Fd like like a verbal verbal respons responsee on each one so that  that   I know knowwe are are on on the the same same page, page, okay? okay?

boundaries.

THOSE

are

the

illusions

because

nothing

is

impossible. Throughout this entire evening, all of you and all of   your  your choice choicess have have allowe allowed d for THIS THIS momen moment— t—rig right ht here, here, right  right  now. William, in a moment, I will have you hit “call.” Chances are,

 Let’s  Let’s begin begin by hittin hitting g the “1” “1” that’s that’s used used in all long-d long-dist istan ance ce calls. Got it? Good. Keep letting me know as we move along here.

Leaving it tabled, square the pile and start to deal off the top from your right to left, face up across the table; this makes it easy on the spectators  because it leaves the sequenc e to be read from their left to right .  Looks  Looks like like were were start starting ingoff here here with with a three. three. Got Got it, it, Willia William^ m^ Great. Then it looks like a two. An Ace would be one. Then a  f ou r .. . Oh, wait! wait! A Ki ng ?. . .

 Hmm  Hmm .. . What “K” “K” on on your yourdial dial pad? pad?

well end up with a wrong number—or a complete stranger will answer. If this happens, you will be connected to this person and  this person will be connected to all of us. Out of the billions of   phone  phone number numberss in the world, world, this this is the number number you have have created. Out of chaos we have arrived at these ten digits. Please hit “call” now!

Before your phone begins to ring, you should have just enough time to ask:  Do you have have spea speaker kerpho phone? ne? Good put it on; this way we can all say hi together.

Even if some of them have realized what s coming, everyone will react with murmurs of incredulity the moment your phone starts to ring.

 A Five Five? ? Okay Okay,, Im Im gani ganiee ifif you you are. are.

When youve dealt the eighth card, say to William:  Let me know know when whenyou have have enou enough gh digits digitsto make make a call call..

He will indicate that he needs two more, of course. Have him enter the final two digits; then take whatever is left and set them aside with all the others.

Answer the phone, and say:  Hello.  Hello. This This is _____________  ________________  ___ .

Look up at the audience, spread your arms, and smile.

 A f t e r t h o u g h t s There are several apps that link a second line to your cell phone, but other convenient options include linking Skype and Google Voice. With these

 Now,  Now, Uliam Uliam befor beforee you hit “call, “call,” ” let’s let’s recap recap what’s what’s happe happened  ned  here. We had the cards mixed until there was complete chaos;

services, you can usually choose from a long list of available phone numbers and find one that is easily represented by a deck of cards.

but weve seen positive proof that chaos on one level may be beautiful order on another. If there is something our science and   philos  philosoph ophies ies agree agree upon, upon, it's that that all is one. one. No matter matter how how

242

243

T h e  D o o r s

o f  D e c e p t i o n

If you use the iPhone, a nice option is to have a visual cue for an incoming call (instead of, or in addition to, the standard audible ring) by enabling the LED flash.* 1.

Launch Settings from the home screen.

2.

Tap on General.

3.

Tap on Accessibility.

4.

Tap LED Flash for Alerts.

5.

Tap the switches for both LED Flash for Alerts and Flash on Silent.

Enabling the Flash on Silent option will allow you to do the trick without having to worry about an unexpected call coming through during the  performance.

C LOSING With all the gaffs you ve rung in and out, the other props going to and fro, as well as the two deck switches (one for a gaffed deck and one for a stacked deck), youve reached the end completely clean. If you take the remaining cards (not those consisting of the tabled phone number)* and shuffle them together, all evidence is destroyed 卞 .

This combination of subtlety and gaffs, self-working principles and sleightof-hand skill, as well as magic with mind-reading and mystery should leave all witnesses feeling as if theyve had a rare front-row seat to the inexplicable, stunning, and wonderful. If you wish, you could walk away right now, leaving the pack of cards and wine glasses behind, and none would be the wiser; its what I do.

* Best to leave those be. Гт sure other manufacturers have similar options in their models as well.

244

^ In the interest of closing the doors, if you decide to leave the pack for ^Sympathy (for the Devil) Cards** behind, you may also want to put crimps in the three cards that match the gaffed monte set.

245

Ac kno wl wle edg ments From the bottom of my heart, thank you: Jared Kopf Johnny Thompson John Lovick William Blake JefF Corn Bill Abbott Rick Maue Jimmy Fingers Lee Asher Christopher Rose Joey Burton Alpen Nacar David London Bill Malone Bob Farmer Tim Trono Carol Singleton Chris Cromartie CS, Cl & My cat, Ouija

ABOUT BOUTTHE AUT AUTHO HOR R

Two-time Merlin Award recipient Paul Vigil performs magic and mind reading all over the world. From 2010 to 2013, his critically acclaimed evening parlor show at King Ink inside The Mirage Hotel

& 

Casino in Las Vegas gathered

standing room only crowds week after week. The Doors of Deception  is his second major collection.