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By Paul Vigil E-books Diplopia ICON Sympathy (for the Devil) Cards H. C. E. Effects Prime Cut Lady Bug Books Classic Fantastic The Doors of Deception

PAUL VIGIL the DOORS of DECEPTION Dark Arts Press

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. 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

This book is dedicated to the memory of my dear friends and fellow magicians, Jason Scott, Randy Malcolm, and Tom Mullica. 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 laughs. You were indispensable, brought me enjoyment beyond measure, and, ultimately, made my own life worth living. And then ... (poof!) ...you were gone. 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. —William Blake 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. —Paul Vigil

CONTENTS Foreword Xlll Introduction XV Prepare to Enter 1 Paraphernalia 3 Main Deck Setup 5 Pocket Management 7 Through the Doors 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

foreword 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 ... Mike Pisciotta Hollywood, California April 2017 xiv

INTRODUCTION Hi. Back again. Its been a minute, huh? ... A long minute. 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 агеаГ5 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?... XV

The Doors of Deception 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*— Enough! IVe already said too much. Why ruin all the surprises? Paul Vigil Las Vegas, Nevada April 2017 * Sir Walter Scott, “Marmion”（1808). xvi

PREPARE TO ENTER Chance favors only the prepared mind. —Louis Pasteur

PARAPHERNALIA 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 <cYou will choose my keys55 engraved thereon • A metal business-card case with “You will choose the phone” engraved on its lid • A pen with KYou 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<The 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/Silver5 ); see tcFree Will of Order.55

The Doors of Deception • 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) • A partial Wild Card set and two matching non-gaffed cards (e.g., four Nine of Spades/Queen of Hearts double-faced cards and two regular Queens of Hearts) • 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) Cards” • Two empty, wine glasses (these can be borrowed) that will accommodate small packets of playing cards • A cell phone The non-gaflFed copper and brass coins are not used.

MAIN DECK SETUP Many different combinations of the required cards could be fashioned to accommodate the following show, but for consistency, the explanation will stick to the following design (although you may have to find slightly different arrangements for what you have available). From the top down: • Three of Spades • Queen of Hearts: outer right and inner left corners shortened and marked 5

The Doors of Deception • 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 • Jack of Spades • Queen of Spades • Five of Hearts • Eight of Clubs • Five of Diamonds • King of Spades • Eight of Hearts • Ace of Spades • Eight of Diamonds • Nine of Spades: outer left and inner right corners marked • Three of Spades: odd-backed; matches the top card; one-way pointer indicating proper orientation of the monte cards Sometimes 38, if I include both Jokers. 6

POCKET MANAGEMENT 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) • Right inside breast pocket: a few business cards, with one accommodating the prediction for ccFree Will of Order5 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” 7

The Doors of Deception • Outside breast pocket: the cotton handkerchief with the safety pin fastened to a corner • Left front trouser pocket: your wallet with the gaffed bill and the normal dollar for the transposition set inside amongst your legit money* • Left rear trouser pocket: this pocket needs to be empty to accommodate the second deck switch • Right rear trouser pocket: a stacked ''Sympathy (for the Devil) Cards， ， deck wrapped in rubber bands (i.e.， red or thick 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: your cell phone * 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. 8

THROUGH THE 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. — John Updike

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, you look fun. My name is___________ , and Гт a performer I 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). 1 1

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 Harris determined choice Unknown ♦ Abbott The 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. 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, <cMind Control RemasteredM (2007) and Bill Abbott, KMind Control Re:Imagined,,s Mental24/7 . t Paul Vigil, ££Chance, Choice, and Fate,M (February 2010). + Years ago I adopted this performance concept from my good friend and mentor Rick Maue [see Rick Maue, wGroup Dynamic> ,> The Road (2010), p. 8; see also Rick Maue, MindVention Notes (2006)]. I believe this approach has broader range and believability than the standard magician, hypnotist, or mind-reader fare ... at least for me. 13

The Doors of Deception Method & Presentation Do you like choices? Of course you do; we all do. What do you think about the possibility of sending a thought to someone you’ve never met, influencing his or her thoughts， decisions, or even physical actions? As far as you know that shouldn’t even be possible. As a magician, I know that not all of the decisions we make are our own—especially when we think we have a completely free choice. Гт not talking about the 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 you to try an experiment. What’s your name? Hi, Aaron, Im Paul. Гт not sure if this will work out, but imagine we have a bunch of objects here, and I asked you to name any one of them. Although you believe you have a free choice， it turns out that you followed exactly the mental direction^ I was sending you. That would be fantastic, right? I think we can do it, Aaron. First, Г11 need to borrow some stuff... As an example, remove your keys and place them on the table. 14

Determined Choice ...such as a wallet, or a ring. Can we use your watch? 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. 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 start, ask that everyone gather around the table of objects for a demonstration in the powers of suggestion.* 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). 15

The Doors of Deception And third, you re going to make a simple, but important) choice; whatever happens, however, I want it to feel right~~I want it to be your decision, so that whatever your mind desires will be the ultimate outcome. Here we have a row of random objects. There is no way I could have known that out of the dozens of different things we could have used, these would be the ones in play. Indeed， whenever I do this, the objects are always different. I am concentrating on one of these~-focusing on it, sending it to you, subtly weaving my words and actions， without ever once saying which one it is. Гт sure you’ve heard that most of the communication we do is based on non-verbal cuing. The results can look like psychic power. So, with that said, and keeping an open mind, let's see how well I can “psychically” send one of these objects across to you. I don’t want you to think I just got lucky with this, either. We will have proof, I promise. I know that doesn’t make much sense now, but it will in a moment—engraved and indelible proof about one object I am sending to you, and the one I believe that you II intuitively receive from me without our exchanging a single uttered word about it. Let me concentrate. Im sending a thought to your mind.. Please close your eyes and concentrate, too: Just allow the mental seed I’ve planted to sprout over the next few moments. It might feel weird... That didn’t hurt, did it? No, of course not. This is the magical moment, so give it its deserved gravitas. 16

Determined Choice Equivoque We will eliminate five of these because we need only one—the one that I am sending to you. Look over the row and get a sense about what may make you more attracted to one object than another. Perhaps the light is hitting some in a certain way that makes them appear brighter from where you’re sitting. Take a moment to contemplate the appeal of each of these objects. Right 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 be impossible for me to know what you may or may not do next, right?* Anything is possible. Aaron, you’re about to make an important determination. Think of an imaginary line—to make this easier, half and half —to start a process of elimination. Run your index finger down the middle of the objects, signifying an invisible line dividing them into two halves. Concentrate on what I am trying to send you; try your best to pick up on the thought. Some of you may be able to pick up on this, too. 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 at me and focus. Now, hold up your “magic finger.’’、 I want you to relax; take a deep breath. It is your determination. I know your mom told you ifs rude and to never do it, but she’s not here, is she? ■ See Phil Goldstein, Verbal Control (1976, 1996). t Docc Hilford，“E’Voque”（2005). 17

The Doors of Deception Good. Reach out and point to either side. If the non-force side is indicated, gesture toward these objects and begin to push them aside as you say: As I said， this is a process of elimination. You’ve decided what we get rid of, Aaron, andy for whatever reason, it's those. On the other hand， if the force side is indicated， gesture toward these items as you say: You’ve made your decision and， through whatever invisible attraction, have chosen to keep these. Multiple Outs 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 should have let you do this before; it really doesn’t matter, but arrange tjjese three into any order you want. By the way, so far you’ve intuited correctly. If you had made the opposite decision, Fd already be out of luck; luckily, the one Im hoping for is still in the running. Once the participant has finished arranging the remaining objects, say: Now for the moment of truth; this is the most important 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 one, and then I will give you a chance, and only one chance, to change your mind. 18

Determined Choice Check out the keys—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. 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. I want everybody to watch carefully; you re about to make the key decision. Now they all might not make the same decision as you, and that’s because they’re not in my sights, but you are. Do you have a final object in 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? 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. Commit yourself, Aaron. Whichever one you re thinking of now, 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: / wont peek. 19

The Doors of Deception Although you should listen as closely as possible to discern whats being written.* You have committed yourself to one of these objects. You re already amazing, but if you get this right, you will have the power to do the impossible. This will last for at least four or five months. Indeed, if you choose the right 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... Are you finished, Aaron? Before you turn around, take an educated (or wild) guess at what you believe he has written: Did you write, “_____________ If you re lucky, you ve made a direct hit. If not, you can easily cover this up by replying: Good, because then Fd be one hundred percent wrong. Please tell everyone out loud—what did you finally decide upon? Watch Yes! Perfect. May I see that? 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 pen, which has the correct prediction. * Another tip that can easily be incorporated here is to turn away slowly so that you can quickly pencil read the written selection; see Bill Abbott, Mind Control Remastered (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

Determined Choice 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? The interesting thing is that the watch was the exact object I wanted you to choose. Thank you! Thank you very much! You think Гт kidding^ but it's true. Ive been 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? Welly you’re not going to believe this. Please, could you read aloud, in a clear voice, what Fve had engraved on that pen youve been holding this whole time? That’s right: “You will choose the watchr Incredible! Phone 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. You could have chosen the keys, the watch, the cufflinky the tin of mints, but you chose the phone. Do you feel like that was a free choice? The interesting thing is that the phone was the exact object I wanted you to choose. Thank you! Thank you very much! That’s right， Aaron) this whole time I>ve been focusing on the phone. It would have been too obvious to concentrate on the keys; after all, they’re mine. I want you to know exactly how I do this: the person I focus on always chooses the phone. Oh, you don’t believe me? 21

The Doors of Deception I can see that you’re a more refined audience than most; you require more substantial evidence. Do you remember I told you about proofi You’re not going to believe this. Please, Aaron， could you read in a loud, clear voice what Ive had engraved on that case youve been holding this whole time? Yes! “You will choose the phone!” Keys Push the keys toward the participant and say: This is the choice you mean? Not this... Push the phone away. ... or that? Push the watch aside as well. The keys. Perfect! Do you know why? Because that’s exactly what I was thinking of, too! Thank yout thank you, thank you! Gather everything from him—the pen, the case, and the card——and say: May I see? Yep> sure enough: “Keys.” ， Гт not sure if anyone was watching very carefully or not, but could the owner of these keys please raise their hand?* Obviously no one will, but pause for dramatic effect as if you are expecting someone to raise a hand at any moment. * This is another excellent bit from Bill Abbott, aMind Control Re:Imagined,5, Mental 2417 (2013). 22

Determined Choice Remember when I said I hadproofi 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. Will you please pick up my keys and, in a loud, clear voice, read aloud what is engraved on my charm there? “You will choose my keys!” Isn’t it wonderful? No matter the outcome, always end on a gracious note, with a twinkle in your eye: Thank you for taking part in this little experiment. By the way, do you know why you picked the__________ ? Now the rest of you might have had a different choice in mind, but you werent in my sights. You were, Aaron, and because you were in my sights~~and anyone I put in my sights will always do the same—that's why you choose the________ ! And now that you have this power, Aaron, I sincerely hope you’ll use it for good rather than evil. The people you encounter over the next four or five months will thank you as I thank you now. Thank you very much! Afterthoughts 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 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 chosen object to signify his final decision. This bill was folded into quarters, which allowed it to serve as a progressive revelation: one message was hidden by the quarter fold; another (written along 23

The Doors of Deception 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 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, <cYes, I knew you would choose the watch.,J And then, having completely opened the bill, the back would read, “Later you will wonder why you didn’t choose the keys!” As I said, clever, but clearly overkill. You live and learn. 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 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， ” 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 to fold his card along the 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

Determined Choice / 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 midtear 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 again. Dont change your mind. This time, though， just draw a little picture or doodle of whatever it is you just jotted down， and let me see if the image will help, okay? Just draw it here. I wont 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, that’s fine with me. Just, please, nobody say anything. I dont want any help. In fact, Г11 keep my back turned until you’re finished. 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

The Doors of Deception 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 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. * Cf. George Anderson, KTorn Center Deluxe,,> It Must Be MindReading, (1949), p- 12. Ifyou already do the Чогп center gag, try this and get yourself a real т1гас1е.и 26

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. —Han Solo FREEWILL OF ORDER Corbuzier ♦ Richards ♦ Fingers The magician shows one of his business cards, which contains a detailed written 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， ’’ 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 Order55 as soon as I found out it was for sale, I then began using the routine occasionally in place of KDetermined 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. • Jimmy Fingers， “Free Will of Order”（ 2006)， p. 2. 27

The Doors of Deception 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 Ujust another card trick’’* into something with wider application. He also gave it the title KFree 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: KThis 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. Method & Presentation 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? * Personal communication (2017). t Jimmy Fingers, “Free Will of" Order”（2006)，p. 3. 28

Free Will of Order Hiy Adam} Гт Paul. Do you require glasses to read? The only reason I ask is Im going to have you verify a written statement in a moment. No, excellent! Please join me 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 awiir5 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, not that. Maybe later... 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: Ah> this one will do nicely. 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 you can verify that what Fve written on this card is extremely specific and descriptive. In fact， Г11 let the rest of you know that what Fve written on this card is not only the exact 29

The Doors of Deception decisions this man is about to make, but the exact order in which he will take those actions. The prediction reads as follows: Free will has been taken! I will be holding the coin， you will be holding the watch, and, finally, the pen will be hidden. 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. I have three objects here: a pen, a watch, and a coin. 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: Adam, heres what's going to happen: Im going to offer these three objects to you and what I want you to do is reach out and take one object in each of your hands, leaving me with one. Do you understands , Good. Address the audience: And I want you all to know that in a. moment he will have a strong urge to run and hide ... Turn to your participant and stare into his eyes. 30

Free Will of Order . . even though Гт not chasing or scrutinizing you in any manner. 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 said you believe in free will, and Гт sure you believe you have the power to change things in your life. Most people are conditioned to believe they re in control of what they do. Which is perfect, otherwise this wouldn’t be very impressive, would it? 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 is turned. Now you may have already decided what you want to do, but wait until I turn around to finalize your choices, okay? Great. Look at me. Smile at him. Look at my hands. Just before you turn around, say: Three objects. Your decisions. Again: take any two you like, leaving me with just one. • Jimmy Fingers, “Free Will of Order”（ 2006)， p. 4. 31

The Doors of Deception Turn, and with the objects held behind your back, the participant takes two of them as instructed. Before turning forward, say: And those decisions were yours, Adam? No one told you what to do? 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, this is a nice throwback to the line about his urge to wrun and hideM from you: See? I told you he was going to want to hide from mey 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 Jimmy calls the “no-man’s land” between behind-your-back and off-to-yourside. If the pen remains with you, however, 7be sure to hold it all the way behind your bac^c， unquestionably “hidden” there until the revelation. Scenario 1 The participant has taken the pen and the watch, leaving you with the coin. Turn back around to face him and say: Next, take either one of those objects and put it behind your back. la. He places the pen behind his back. Bring the coin casually forward as you say: 32 And those choices felt perfectly free?

Freewill of Order 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 whatever is left, please help me out by hiding it in your pocket. 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? 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.) Scenario 2 The participant takes the pen and the coin, leaving the watch with you. Turn to face him and say: Please put either one of those objects behind your back. 2a. He places the pen behind his back. Let the watch settle at your side; then bring it completely forward. 2b. He places the coin behind his back. Casually bring the watch completely to the front, point to his trouser pocket, and say: And whatever is left, please hide it in your pocket. 33

The Doors of Deception 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. Scenario 3 The participant takes the coin and the watch, leaving you with the pen. 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 examples). Bring your free hand to the front and say: Now, just place either one of those objects back in my hand. 3a. He hands you the coin. Proceed to the prediction, taking it from his pocket and reading it aloud yourself. 3b. He hands you the watch. Proceed to the prediction and have him read it. 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).* 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’s the first sentence~~Adam, follow along with me and let them know Гт not changing a single word. “Free will has been taken， ” yes? * Jimmy Fingers, “Free Will of Order”（ 2006)， p. 6. 34

Free Will of Order Next it says, “I will be holding the coin,” and look at what I have here: a coin! It also says, teYou will be holding the —What does that say? It sayst (<watch w doesn y t it? And what do you have, Adam? The watch} yes! uAnd, finally, the pen will be hidden.” Please turn around and show them. 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: or Thank you for doing exactly as I wanted! Not only the actions he’d take, ladies and gentlemen, but the exact order in which he would do them! Of course, no matter how it ends, finish with: L couldn’t have done it without you. Again, thank you for helping me out today. Let’s put our hands together for him! 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

The Doors of Deception 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." Afterthoughts 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, уоиУ be perfectly safe. Many times 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 its actually read aloud. For example, in Scenarios 2a, 2b, and 3b: So, to make things clear, there is the coin, here is the watch， and the pen has been hidden behind your back/in your pockety correct? Well then, all I can say is you re not going to believe this, but first let’s look at what I’ve written.... Or, if he is reading the prediction, I will interject: Adam, readjust the first line out loud. He reads, “Free will has been taken.” * Jimmy Fingers, “Free Will of Order”（ 2006)， p. 7. 36