Paul Vigil - The Doors of Deception.pdf

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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































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.

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

V































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































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

































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

INTRODUC TIO ION N Hi.































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





























































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































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 Both side jacket pockets have a divider in them made out of a piece of thin

































Th e Do o r s


• Outside breast pocket: the cotton handkerchief with the safety pin





























































A moment or two of serious self-































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 & P

ntation
































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

De t e r m in in e d C Ch o i c e







































































































































































































































































































































































































































Th e Do o r s


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































Th e Do o r s


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































Th e Do o r s


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.”































Th e Do o r s


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































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 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

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

































Th e Do o r s


Playing with his answer, say:

3-Ca r d Mo n t e

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

Yeah, I did switch it y Curt.

middle and ring fingers at the inner left corner to cover the fraudulent index.































Th e Do o r s


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.

Single out someone new:

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































Th e Do o r s


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 ...































Th e Do o r s

3-Ca r d Mo n t e


... 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































Th e Do o r s


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.

































Th e Do o r s


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































Stealing is not excusable if, for instance, you are in a museum, and you decide that a































Th e Do o r s


felt it could easily be intuited by audiences that this made the bills small

Th o u Sh a l t No t St e a l































Th e Do o r s


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


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







































































































































































































































































































































































































































































T h e D o o r s


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 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.

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































Th e Do o r s


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.































Th e Do o r s


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.


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

technique similar to the

described by Tarbell in































Th e Do o r 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.































Th e Do o r s


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


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

































Th e Do o r 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































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































Th e Do o r s


“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. 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.

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.































Th e Do o r s

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


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































Th e Do o r s



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.

































Th e Do o r s


Tilt the gafF up and display the coin as the half dollar, holding it at the right


Completely close your right hand and begin to turn it palm down.































Th e Do o r s


Mo r r i s ' Fa l s e To s s


J .C. Wagner 's Handling































Th e Do o r s


As you remove the coin with your right hand, use your left hand to stabilize his fist, and (this is

important) squeeze his hand.


Moving the right hand away from the left as a playful 'smoking gun/'































Th e Do o r s



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































Th e Do o r s


Bring the right thumb from underneath and lever the gafF up and out


Gingerly give your left hand a slight shake.







































































































































































































































































































































































































































Th e Do o r s


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 like a direct path.

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 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. You dont want to change your mind?

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

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, as above.

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:

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

You will now apparently fumble by showing that there is definitely more































Th e Do o r s


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.


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?































Th e Do o r s


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? ?































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 Mind-

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































Th e Do o r s


The pack is boxed and placed into the right side jacket pocket on the inside of the divider as you gather your accoutrements.


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.


































Th e Un e x p e c t e d Wil d Ca r d

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































Th e Do o r s


Meticulously square these two cards and then separate them again, conveying difficulty or that something is amiss.


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.*

































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 Turn the Queen face up.

thumb, place all the cards in the left hand to a spot on the table just to the left

With the left hand, push the top Nine over to the right, and use the right

of your performance center; you dont have to worry about these being squared































Th e Do o r s


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































Th e Do o r s


Gilding the Lily (O (Optiona l )


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,

.. . and there’s there’s nothing on the back. back.

































T h e D o o r s


Table the right hands card onto the other card there.

T h e U n e x p e c t e d W W il

d C a r d































Th e Do o r s


Table these four cards slightly fanned in front of you just to the left 〇 f
































r

Th e Do o r s


Place the three cards into left-hand dealing position, immediately turn over


Once the right hand tables its card, bring the two remaining cards
































Now that the trick is over, you ca n casually push off two cards here showing the backs of three.







































































































































































































































































































































































































































































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 .

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

Adams5

Pick up the pile and repeat the process, first by dealing to the table as many

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































Sy m p a t h y (f o r t h e De v i l ) Ca r d s


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?

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
































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

































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.

































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 <
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


































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.

Turn the two cards around, showing a flawless match, and then set them

Theres another harmonious pair. 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.































T h e D o o r s


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































T h e D o o r s

S y m p a t h y ( f o r


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

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!































T h e D o o r s


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































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

































Paul Vigil - The Doors of Deception.pdf

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