PVDD

Free Will of Order Okay, good. Read the next line to yourself. . . And please continue. What does it say youll have there? He says, wThe coin.55 Before he goes further, point to his hand and ask: And what’s there? “The coin,” he says. Yes! Keep going. It also says, here will be the— You're just bulldozing over what s written, but still having him confirm. .. ...what does it say?... “Watch.” And look, I do have the watch! It also says that finally— Go ahead, read the end there out loud! And he finishes with, ccFinally, the pen will be hidden/5 Turn around and show them! Let's give him a round of applause! As I said, not only the exact actions he’d take, but the exact order in which he would take those actions! Although IVe written these first two routines as complementary but different options for a strong opener, there is no reason that you cant begin with “Determined Choice,” reference it later in the set， and then perform “Free "Will of Order55 by inserting it between any of the upcoming pieces, or vice versa. This would be a fine thing to do if new people start to hover around and is the perfect way to fill them in on what caused all the commotion to begin with. This is also 37

The Doors of Deception the reason for carrying the extra pen. If you performed ''Determined Choice" earlier, and the watch was not selected, youll want to use the other pen if you decide to include aFree Will of Order5 later in the set. I typically use the same props Jimmy does: a coin, a pen, and a watch. Yet, as mentioned, these props can be anything. I think this routine lends itself especially well to an after-dinner, impromptu piece utilizing a fork, knife, and spoon. IVe even worked on a Halloween-themed version by using a bowl of fun-size candies， with the prediction reading: “Free will has been taken. I w出 have the Milky Way, you will have the Butterfinger, and finally, the razor blade (in the Snickers) will remain hidden.”* I will also stress that you should always choose a man with a breast pocket, which is the best place to put the prediction in the beginning. This way, either of his hands can have easy access to retrieve the prediction (as he may have the pen hidden behind his back, where you want that hand to remain for the sake of the climax); and you also dont want the prediction in any of his trouser pockets (because the pen could end up there too, muddying the picture, as well). Also, by him taking the prediction out of his own pocket, it makes the outcome, if he has to read it, much more deceptive (and congruent) while also minimizing the chance of anyone discovering the modus operandi. Here s a horror story. I was up for an audition and started with this effect. I brought a lovely woman forward to help. Blah, blah, blah . . . She takes the pen and the watch. We get to the point where shes asked to place one object behind her back, and she puts the watch behirld her back. Regardless, Ггп now at the point wftere I would tell her to “finally” put the pen in her pocket and . . . Гт trapped! Damn it! She was in a dress so tight she had to have been poured into it. And—you guessed it_dresses like this dont have pockets. I was painted into a corner. One small mistake and nowhere to escape! Ugh! Never again! Remember: use a man with a breast pocket， or you’ll， find out, as I did, that Murphys Law shows up exactly when they say it will. Not that theres a ubest time55 to mess up, but if you get burnt when youre looking to light a fire in someones soul, it takes an extra long time for the ego to heal. These are the things nightmares are made of. This parallels why I recommend not starting with a technically demanding piece. In the beginning, we are trying to get into the groove of the performance, and a fumble early on can cause what feels like * This is especially effective if you both eat the safe ones first and then reveal the surprise by carefully opening the Snickers to expose every mothers nightmare within. 38

Free Will of Order a never-ending game of catch-up. Better to start easy, warm up, and find your rhythm. Finally, one of the greatest compliments I think we can get from creators is their seal of approval after they see us perform one of their creations. One day Jimmy came to visit me while I was working at The Mirage, and he asked if Td mind performing it for some people; he would watch, perhaps even critique. I knew I had been presented with a great learning opportunity. ГП never forget what happened after the prediction had been read. Jimmy looked at me in the way only Jimmy Fingers can look at a person. I was all nerves. Then he said, UI felt like I put this together for you/5 And my nervousness blossomed into a smile. Thank you, Mr. Fingers, for your kind words, and, again, for allowing me to share what I truly feel is one of greatest impromptu and spontaneous pieces of mentalism ever invented. 39

First and foremost, do not stop and play three-card monte. Ever. If you see one in progress, don't stop, don’t play—just don’t. Even if you can follow the moves and techniques, you cannot win. Walk away ... Danger! -Lee Asher 3-CARD MONTE or The Ultimate Catch 33 Deland ♦ Taytelbaum ♦ Asher ♦ Burton ♦ Cervon The magician proposes a game of three-card monte. Some people agree to play, but despite the uncanny fairness of the procedure, they lose every time. Fortunately for us, the lineage of the gaff employed below has been thoroughly researched and outlined by the Canadian lawyer-wizard, Bob Farmer.* It starts in 1908 when Theodore L. DeLand invented his three-card monte, “Pickitout， ” which used two gaffed cards—an Ace with a false Three index and a Three with a false Ace index. Later, a routine by Eddie Taytelbaum utilizing the same set of cards was published as aFind the Ace55 in Dai Vernons Ultimate Secrets of Card Magick Michael Skinner subsequentlymarketed a similar routine featuring the most popular handling of the gaffs.^ My interest in three-card monte was re-ignited by my dear friend and CardStar, Lee Asher. HeJd been putting together an amazing routine in the trenches of UNLV. Along the way a mutual friend, Las Vegas magician JoeyBurton, saw the way things often unfolded and added some psychologically devious moves， which came to be known in Asher’s “Catch 33” as the Kaiser Con and the Sosi Switch.5 These puckish ploys inspired the similar dodges used in this routine. §Bob Farmer, “GafRis Maximus” lecture notes (Toronto, June 2014)，pp. 1-2. Lewis Ganson, Dai Vernons Ultimate Secrets of Card Magic (1967), pp. 167-71; see also Ken Brooke, “Chase the Ace”（1955). $ Michael Skinner， “Ultimate 3 Card Monte”（1990). § Lee Asher, <£Catch 3355 (2003, 2013), pp. 11-15 (their spellings, not mine). 41

The Doors of Deception As mentioned earlier, I actually use a custom set of the DeLand gaffs that consists of both black Twos and the Ace of Diamonds* for the money card.1" I do believe it is better to have two mates and a money card of the opposite color; these are small details, but they make the effect clearer and more deceptive. Instead of having three things for our audience to process, there are only two. If youre wishing to adhere to the following setup as closely as possible but only have the Skinner cards, switch the non-gafFed Two of Clubs that comes with the set for a Three of Spades from another deck j The Farmer gaffs, on the other hand, can be swapped in without any substitutions. Unlike most monte routines that merely demonstrate the con, usually with a first-person narrative (WI saw a guy in New Orleans whose uncles roommates cousin told me about a game his old pappy played once on a Mississippi riverboat ..•”)， this one is actually played in real-time with a real “mark” making actual choices. One aspect of this construction, which is quite nice when practicing, is that after each phase the cards always end up in the same order; this makes it convenient to rehearse one phase over and over and then continue to the next without having to set anything up in between. * See Mike Rogers, <cThe Unconquered Card5> (1989). Devised by Rogers in the 1960s, this effect was the first to use this combination (specifically the Ace of Diamonds, Two of Clubs, and Two of Spades); see also Bob Farmer, £<Gafilis Maximus,J lecture notes (Toronto, June 2014), p. 2. 卞 To me, the Diamond suit lends itself best to the routine: the game is about procuring wealth, not love (which a Heart would better symbolize). ф However, you will then need to pick another card for the odd-backed, one-way indicator. Just about any one-way card will do, e.g., the Seven of Diamonds. 42

3-Card Monte Method & Presentation If youVe just finished performing either of the previous routines,* put back everything of yours in its right place and, if necessary, return any items you ve borrowed. Choice, influence, psychology: I look at these things like a game. Some of my favorite games make you think you cant lose, even though you actually can never win. They re not complicated. Some even seem to be simple—which is probably one of the main reasons they re so good at separating people from their hard-earned cash. This is one of the simplest. It's been around for a couple of centuries now, but it) still one of the best cons around. Reach into your right inside breast pocket, bring out the pack, and remove the cards. Using the direction of the center pip of the bottom card, i.e., the Three of Spades, orient the deck accordingly. Can I show you? Spread through the deck,卞 out-jog the previously distributed (and, of course, properly oriented) monte cards, and strip them from the pack, being careful not to expose any of the false indices.1*1 Table the three cards fanned face down, Ace at the top and the non-gafFed card at the face, with the gaffed indices at the inner left corners. This II give you some knowledge you can walk away with and use on somebody else or, at least， you’ll know what to watch out for. Case the pack and place it into the right side jacket pocket, on the inside of the divider; the opposite side holds the Octopus Deck, and you dont want to * Please notice that we have not started with a card effect; while I love card magic as much as anyone, I believe you’re missing an opportunity to make a better first impression. t Of course, youll want to avoid exposing the odd-backed card on the face of the deck. $ Removing the gaffs from the pack like this is much better than introducing these cards from somewhere else; they should seem to be part of the deck and not something extra and suspicious that you carry in a plastic packet-trick wallet. 43

The Doors of Deception lose track of whats what and where s where. Furthermore, this will begin to establish a pattern that you often place things in your pockets. And later, when the right hand goes to retrieve the deck, the left hand can move simultaneously and switch in the non-gafFed mates from the left. If I seem to get ahead of myself, thats the idea! A magician must always be steps ahead: thats how the miracles are made. Pick up the tabled cards and, keeping the faces down and the fake indices underneath toward you, place them into the left hand. For upcoming aid in using one card to scoop the others off the table, with your right fingers and thumb at the inner and outer ends, slightly push down on the cards, over the left first finger, to give them a minor and temporary bow. With the cards held in the right hand by the inner right corner, take the top card in the left hand by its inner left corner, two fingers on the face and thumb on the back, hiding the fake index. Hold the Ace^loft and openly display it. This, the red Ace， is the one they call the “money card”； it’s the only one you have to really watch and follow. Lay it face down on the table. As the Ace is going to the table, you can briefly lift and show the other two cards by pulling the upper card to the right with the thumb to keep its false index hidden behind the front card. 44

3-Card Monte Bring the faces down for a moment to take this next (top) card in your left hand and, as you did with the previous card, cover its sham, inner corner and now lift both cards, showing their faces, i.e., the Two of Spades in the left and the Two of Clubs in the right. These, the black cards, they re not so important... Lower the front edge of the card in the right hand and tap the back of the tabled “Ace,” emphasizing: It’s the red Ace that you’ll want to follow. Phase 1 You will now run the cards, moving them singly, from the right hand to the left, three times, each time simply reversing their order. Holding the cards at their right side, with the right fingers underneath and thumb at the top, use the left thumb to peel them slowly into the left hand. As you make the first of these runs, say: 45 Place the Two of Clubs on top of the tabled <cAce.,> Then use the aTwo of Spades' in the left hand to scoop up all three cards.

The Doors of Deception Of course, after they throw them on the table, they get a chance to mix them up. On the second run add: And some of them do it very fast. Here, as youre concluding this count (when two cards have moved to the left hand and one is still in the right) bring the cards back and forth together quickly but not really mixing them further; just use the actions to highlight the speech, and then finish by taking the last card. And, for the last run, again, suiting actions to words: But Im not going to do that here. We are friends, so Im going to do it very, very slowly for you. If I start moving too fast, just let me know, okay? For those audience members who are scrutinizing the runs and have actually followed the “Ace” (realizing that it started in the middle and subsequently has remained there), false cut the cards to lose them as follows: With the cards square and face down in the left hand, bring the right hand over in end grip (to cover the front edge) and take just the top card, cutting it to the bottom. Continue this by following the previous procedure, but cutting two cards to the bottom, secretly bringing the cards to their former order. With the right hand from above, square the cards in the left and give them a soft, but prominent, downward bend along their length. Per the usual monte procedure, these crimps will help you pick the cards up from above between the fingers and thumb.* As these cards will be reintroduced This entire act can be accomplished sans mat. 46

3-Card Monte to the pack when you reset, you dont want them too disfigured.* If needed, you can add more work into the cards nonchalantly between phases, too. Pinching the cards at the outer end, with the right fingers on the face and thumb on the back, rotate the cards back and over, face up into the left hand. Use the left thumb to spread the packet from left to right. For the sake of consistency, I suggest a similar procedure between each of the following phases. Specifically, as you set up each scenario, casually run the cards singly (but, unlike above, only once); then cut the top card to the bottom and back again; finish by turning the packet face-up from the outer end. Aim for an Erdnasian “uniformity of action” even when not doing moves， per se.卞 This is an approach I exploit flagrantly throughout these routines, as you 11 see. Display the cards (the Ace lowermost, the Two of Spades in the middle, and a Two of Clubs at the face) by holding them aloft in the left hand for those on that side of your audience to see. Maintaining the fan, take the cards into the right hand, fingers on the face and thumb on the back, and raise them to next exhibit the spread to those on the right side of the room (the pips will now be upside down). * Bear in mind that the non-gafFed counterparts of these cards should also appear to have had these slight crimps in them, too, because they will appear later in the set after a switch. t Sec S.W. Erdnase, The Expert at the Card Table (1902), p. 22. 47

The Doors of Deception What’s your name? Hi, Bill， it’s a pleasure to meet you; thanks for watching. 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 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 KAce5>) 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. 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 KAce/5 Гт not moving too fast, am I? Lastly, maintaining the pattern and flow, lift to show the Two of Clubs and, finally, table it to the right of the other two cards. 48

3-Card Monte You know where the Ace is; but once the cards are on the table, 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. 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 the aAce,J and Two of Clubs. Watch the Ace. Turn the hand palm down and do a blatant monte hype move by letting go of the “Ace” with the second finger and allowing it to come off the top and land in the rightmost spot. 49

The Doors of Deception 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. Turn the hand palm down and place the card in the open spot on the left. Got it? Move the right hand to the middle card and take it between the thumb and second finger. 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. Openly do the monte hype move again, letting the top card land to the left. Briefly flash the remaining card (the Two of Clubs) before placing it to the center as you say: 50

3-Card Monte Dont worry about the 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 make sure you dont lose the 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. Continuing with Bill, say: So, I think you know right where the Ace is, yes? ГН often nod and openly 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.* Kaiser Con Of course, your participant will point to the card on your left. Here s where you will utilize the calculating psychology of the Kaiser Con. Take the center card with the right hand, index finger at the outer end and thumb at the inner end, and move it above the one on your left—the card he’s certain is the иАсе/> So, Bill, if you had a hundred dollars... 'AJthough, if the audience is large enough, it can be fun to engage everyone by adding, KLets use the 'Ask an Audience option. Г11 call this one on your left One, this in the middle Two, and this last one Three. By a round of applause, how many think it's One?n lhis should get very little to no response, and the same should happen with Two. The majority will applaud for Three. ''Well, Bill, do you want to listen to your friends, or not?M 51

The Doors of Deception 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 thumb and middle finger. Openly, and suspiciously, transpose the two cards, taking the one he s actually chosen away in your right hand/ Without exposing its face, transfer this card from the right hand to the left, taking it in position to cover the false index. 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. ... you’d want this card， right here? This is basically an open, exaggerated, and ugly hype move. 52

3-Card Monte 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: You want this card right here(?). Theyll respond that they want the one in your hand. No, you want that one, Bill. Lift the card in your left hand showing it as a “Two of Spades.” / told you, were friends. Гт only trying to help 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 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.” With the card in the left hand face down, turn the right hands card and add it to the top. 53

The Doors of Deception 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. Finally, turn it face down on top of all. Don’t feel bad about that, BilL I bet you lost track of it 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? Phase 2 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 explain where you missed it. Spread the cards from left to right. Previously, you displayed the fan first on the left; this time, however, take the packet in the right hand (thumb on the face, fingers at the back) and hold them out briefly to the right, showing them as the Ace of Diamonds, Two of Spades, and at the face, the Two of Clubs. 54

3-Card Monte Bring the cards forward with the faces necktied toward you. Take the leftmost card (the KAce5>) by its false index, pivot it out and forward, and place it face down onto the table. 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. Turning the cards face down, keep the upper, left card in the left hand while taking the lower, right card in the right. Place each on either side of the supposed uAce,J, but set back a bit. 55

The Doors of Deception Hey diddle-diddle} the Ace is in the middle. Slide the center card back so that the three cards line up in a row. Singling out a different spectator across from you, ask: What’s your name? Hi, Curt. Dont blink. 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 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 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 where it started. So, Curt, you know right where it is. Gesture to the card on your left. And, again, that's your right, not mine.. * * A playful variation of an English nursery rhyme published c. 1765, but which may actually date back to the sixteenth century, this also incorporates a take on a slang term in military strategy for frontal assault, i.e” “Hey Diiile Diddle, Right Up the Middle.” 56

3-Card Monte Okay, Гт kidding, that's ridiculous! Im just messing 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 to make sure, go ahead and point to it. Of course, your participant will indicate the middle card. Sosi Switch 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 right between your right first finger and thumb in preparation to switch it as before, only this time for the center selection. So, you want that one? Again, transpose the two cards with the least deceptive move possible. Right here? The action of the switch leaves you exaggeratedly pointing at and designating the card youVe just switched, which is now on the table. That one? Take the card from the right hand into the left by the inner left corner, with the thumb on top and fingers underneath, covering the false index. 57

The Doors of Deception Playing with his answer, say: 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 switch them; Г11 admit that. Damn, youve caught me; so, which one do you want? Here, sometimes playing it safe or sensing you re just fucking with him now, he might change his mind, thinking hes a step ahead of you and go for the card in your hand; either way, continue: Yeah, I did switch ity Curt. Turn the face of the left hands card toward the audience, showing the Ace isn’t there. But not for this one... Gesture toward the switched, tabled card with the one youre holding and say: ... or this one. / i Reach forward with the right hand and turn this card face up, in the same way you would one of the gaffed cards, i.e., using the thumb to cover the inner index. In this case, covering the index isnt necessary, of course; however, its worth doing for the sake of uniformity. Hold the Two of Clubs in this position briefly then place it face up on the table. • 58

3-Card Monte Turn the left hands card face down and use it to tap the remaining facedown card on the left. / 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 on the cards front end, relying on the bridge in the card for purchase. Lever the card upward, using the point at which the left thumb and the table meet as a fulcrum. As the money card pivots and comes into view, be sure to place the left middle and ring fingers at the inner left corner to cover the fraudulent index. Place the card held in the right under the one held in the left hand. With the right hand, take the tabled Two of Clubs and place it face down on top of all. Phase 3 First, straighten the cards, reversing their bends and bringing them back to a flat condition. Run the cards singly, reversing their order. Square up and finish this little mixing procedure by executing the double cut, bringing the top card to the bottom and then back up again, as in the previous phases. Lastly, turn the packet face up, outer end over inner end, into the left hand. Spread the fan from left to right, showing the Ace, the Two of Spades, then Two of Clubs at the face. 59

The Doors of Deception There’s only one way I can think of making this easier. If fact, I dont even know if I should do this. Then, in a rhetorical tone, say: 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. Fine, I guess so. Single out someone new: How are you today? I appreciate your attention. What's your name^ Well, thanks for being here, Derren. Let) try you. Wheres the Ace, then? At this point I like to encourage this persons correct answer by responding under my breath: Oh, my goodness! Yes, Derren. You’re doing great! Cervon Finale My surrogate brother, surgeon, and student of Bruce Cervon, Dr. AJpen Nacar, showed me an extremely fair handling of the final phase of Skinners ^Ultimate 3 Card Monte/5 which was taught to him by the late, great Mr. Cervon himself. Bruce was one of our Arts most prolific thinkers, and its with great admiration toward both these men that I share his unpublished perspicacious contribution. So, you can see that it's on the top. 60

3-Card Monte Often someone will correct you with something like, t£No, its on the bottom.” Pause. Then correct yourself: Well, it) not on the top right now, but if I turn them all over ... Suiting actions to words, square the cards, and then turn them face down from the outer end. Now its on the top. Look, Г11 take the money card... As you say this, make it look as if youre taking the top card; actually take a double. ... and move it to the bottom. After you move the double to the bottom, square the cards face down in the left hand and kick the entire packet slightly askew, positioning the false index at the inner left corner so that its covered by the base of the left thumb. Turn your hand palm down, showing the Ace. See that, Derren? This is one of the most natural and open ways to display the gaffed card. Turn the hand palm up. And I'll take this one... 61

The Doors of Deception 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. You can see a Two at the bottom ... Rotate your hand palm up and execute a double turnover, displaying the Two of Clubs. ... and a Two at the top. Rotate the hand, showing the “Two of Spades” once more. Of course, the Ace is trapped in the middle. Roll your hand, bringing the Two of Clubs back into view; freeze for a second, and then say: Well, that’s kind of complicated. Look， I’ll get rid of a Two. Turn the double on the top face down. Take the top card into the right hand, between the first and second fingers. Keeping the face of this card hidden, use the thumb on the inner end and pivot it up so that the Ace index is downward. 62

3-Card Monte In this orientation, place the card in your jackets outer breast pocket, leaving as much as possible poking out.* We II just use one Two ... Take both cards at the right fingertips and use them and the left palm to let the lower card rotate over from right to left onto your open left palm. As the card is pivoting face up onto the left palm, use the upper card as cover to keep the inner right corners false index hidden. Ihc handkerchief for <cThe Phantom Returns>, should help stabilize the card here. 63

The Doors of Deception ... and the Ace. 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. Move the thumb underneath to help pivot the face-to-face cards up and over 180 degrees. As these actions are finishing, rotate the left hand at the wrist, turning the left hand palm down, and deliver the pair into the palm-up right hand.' * This paddle-move-like action with cards is often attributed to Francis Carlyle; however, this sleights inventor appears to be Douglas Dexter: ^ Will Goldston, Great Magicians Tricks (1931). p. 203. 64

3-Card Monte Push the top card slightly to the right, bringing the opposite Ace index into view. Addressing Derren, say: I have faith in you that you re probably going to win this time. ::So, where is it? If they get this answer wrong, you know you should probably not stick around to perform any more magic for this group. In any case, once there’s a response, say slightly under your breath: Wonderful! Cant get one past you. Place the two cards back into your left hand, square them, and repeat the paddle-move procedure above again, and then spread to show the Two of Spades once more, with the Ace now supposedly face down on top of it. I’ve started you off with the easy question， but they get harder. Offering the two in your hand, say: Is it face up or face down? Great! So far, so good, Derren. Get ready, here comes the tough one. Can you point to it? Of course, he points to the upper card. 65

The Doors of Deception That’s exactly what I’d say) but... Snap your right fingers, signifying the magic moment. Rotate the left hand palm down, turning the slightly spread cards end for end and onto the right fingertips. In a continuing action, leave the now-visible Two of Clubs behind in the right hand as your left hand takes the top card and turns it face up, rotating it end for end away from you and around the front edge of the Two of Clubs. Notice how beautifully the false index automatically becomes hidden underneath the Two of Clubs. .• .Whoa! Take both cards, face up, with the left hand and rub them together (with the top card jogged inward and to the right), showing both sides and emphasizing their singularity. With your right hand, take the cards by their right sides and flop them face down into the left hand. 66

3-Card Monte Follow this by lifting them with the right hand, fingers on the face and 出umb on the back， displaying their faces to the audience. Be sure to keep the gaffed index out of view by holding the rear card up and to the right. 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. Once the card is out of the pocket, pinch it temporarily between the first and second fingers. Next, use the thumb and rotate it around the middle finger (always keeping the false index hidden) to bring the money card into view. You owe me ten dollars, Derren. Pointing to the previous two players, say, And so do you, Bill. And you, too, Curt! To conclude, place the card in the left hand onto those in the right; the cards are now reset. Well, guys, I guess it*s a good thing we werent playing for money! 67

The Doors of Deception Afterthoughts So, what do you do if someone happens to pick the 'winner5? Heres one of greatest “outs” of all time， courtesy of our friend， Lee Asher. The cards are on the table and youve told him to point to the winning card, and he does. Now what? As Erdnase wrote, c<Change the moment.55 As soon as the participant has made his choice, place your hand over the card and parry with: Good guess. Are you sure? I mean, real sure? Are you ready to lose some of that hard-earned cash? Want to bet on thisT Your participant will be thrown into a moment of misgiving as he begins to weigh the consequences of your offer to gamble. Then, just as he is about to conclude his judgment, you interrupt him with an easy way out. Indicate another gentleman who is watching the proceedings, and ask the participant: How about playing with kis money? He will give you a prompt, affirmative response: ccWith his money? Sure!M Quickly turn the money card over and proclaim: Ah, mani You should have bet your own money! You would have just won! If only you’d had/ the courage of your convicAons... As Lee writes, KIf played right, this comical interaction gives the impression the spectator still lost the round， even though he chose the right card.”卞 For those following the big picture ... With the monte cards in the left hand, move both hands into their respective side jacket pockets. First, bring the right out with the just-pocketed boxed deck (the Main Deck); and then, after ditching the gaffed monte cards, * * Lee Asher， “Catch 33” (2003, 2013)，p. 21. 、Ibid. 68

3-Card Monte bring the left hand out a split second later, with the matching normal cards from the pack. Place everything onto the table. If youre segueing into the following effect, its quite easy to transition by next reaching for your wallet and introducing the bills for the ensuing routine, as you say: Speaking of money... 69

Stealing is not excusable if, for instance, you are in a museum, and you decide that a certain painting would look better in your house, and you simply grab the painting and take it there. But if you were very, very hungry, and you had no way of obtaining money, it would be excusable to grab the painting, take it to your house, and eat it. -Lemony Snicket THOU SHALT NOT STEAL or The Mona Lisa Money Trick Hample ♦ Grant ♦ McAllister ♦ Corn To teach a lesson in larceny, the magician causes the one-dollar bill he's holding to transpose with the twenly-dollar bill a participant is holding tightly in her hand. In 1995 I was working at Showplace Magic in Salt Lake City, Utah, which I realize now was like being paid to go to school. The shop wasn’t too busy and Dec Pollard was an easygoing boss who encouraged the demonstrators to learn more all the time, and not simply read the instructions for the sake of a sales pitch, I learned every trick that we carried, and read all of the books. And there, after watching the second volume of Michael Ammar s Easy to Master Money Miracles, I encountered a truly amazing transposition of two bills."*" The effect I used to sell a bunch of VHS tapes that year, and the one I carried for years since, was the extremely clever “Be Switched” by George Hample of Philadelphia.^ [Years earlier Fd read through Tarbell, where I became familiar with U.F. Grants seminal approach to the effect, KThe Slow Motion Bill Transposition.55^ His method used an index of a banknote that was secretly affixed to a corner of a differing bill; the one thing I didnt like was folding the bills into eighths, as I Klhe same was true for my later boss, Steve Simbeck, when he became the new owner; I am forever grateful. t Michael Ammar, Easy to Master Money Miracles., Vol. 2 (1995). t George Hample, "Be Switched" (1985). p Harlan Tarbell, The Tarbell Course in Magie, Vol. 3. (1927), pp. 109-112. 71

The Doors of Deception felt it could easily be intuited by audiences that this made the bills small enough to be switched. Over time, I studied and enjoyed Eugene Burgers thoughts and approaches to this plot as well/ In this master s handling the extra piece is not glued on, but is temporarily applied to another bill; its then stolen off at the end, leaving you (and the bills) 'clean.55 As good as this is, I noticed in my performances of Hamples method that no one ever asked to examine the gaffed bill. Over countless performances of the effect, I became more convinced that the picture in the spectators mind is psychologically complete. Years later, however, my good friend, and Grand Canyon resident magician, JefF Corn, had an idea that became the final brush stroke for me. Corn's Gaff JefF had seen the way I performed <cBe SwitchecT， for many years, but he was also a big fan of the way Bob McAllister had added a flap to produce a beautifully clean transformation.^ Combining these approaches, JefF moved the gaff from the corner of a bill folded into eighths (as McAllister had it) to the center-right section of a bill folded into quarters (as in Hamples original). After showing me how he had incorporated both approaches, I also started to play with it, making different gaffs and finding what I felt worked best. After handling the gafF for some time, I realized that the secret surface of the flap needed to be inverted with respect to the full bijl onto which it is glued. * This flap is comprised of a matching piece cut from another twenty and the rightmost, tails quadrant of a dollar bill, which are partially glued together.* * Eugene Burger & RT. Murphy, “Eugene’s La$t Dollar”（2003). 卞 Roger Klause, “Ultimate Slow Motion ВШ Transposition”（1999). $ It is not mandatory that you use a twenty. The routine will also work with a five, ten, fifty, or a hundred. 72

Thou Shalt Not Steal Combined, these pieces form the flap, which is rubber-cemented to the third quadrant of the folded twenty. Another important point is to simplify the folding and unfolding of the twenty by making a one-sixteenth-inch lip on the bill after it has been folded into quarters. Specifically, with the bill s face oriented toward you, fold it in half from right to left; then fold once more the other way, but dont fold this one perfectly even with the right edge of the bill. According to Eugene Burger, this effect is w〇ne of the greatest pieces of close-up magic. The magic is simple for audiences to follow and seems to happen in the participants hand.55* I wholeheartedly agree. Eugene Burger & P.T. Murphy, “Eugene’s La$t Dollar”（2003). 73

The Doors of Deception 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 truly feel this one is the best. I plan to carry it as long as paper money is printed. Method & Presentation / love these old-fashioned con games. Youd think, given how ancient they are, that people would learn and not fall for them anymore. Still, they keep going on. You know why? They all work on the same principle, really . . . Greed! That, and sometimes good will, but Г11 tell you more about that in a second. I don’t really play the con anymore. Sure, back in college I’d deal poker games, pick a pocket here and there. Looking back at it now, I’d be lying if I told you it wasn’t hilarious. The poor sheep never even felt the shears. These days, I try to be more artistic with my skill. I try to do things that can be enjoyed by others, as well. I mean, I could steal your watch or lift your wallet, possibly take some money or a credit card, but then you’d feel violated. I would laugh at you in front of all these peopley and then u/e just wouldnt have as much fun. That's why well use my money. Reach into your wallet and remove the gaffed twenty and a single from amongst your other cash, which is the most innocuous and natural way to introduce them. (Later, at the finish, weJ ll just put the money back into the left jacket pocket on the monte side of the divider.) And how are you today? That’s nice to hear. And, please, wkafs your name? * Eugene Burger, “Slow Motion Bill Transpo”（2015). 74

Thou Shalt Not Steal It) my pleasure to make your acquaintance, Elayna. Herey take this. Offer the one-dollar bill to the participant. These days, almost everyone is familiar with the painting, the Mona Lisa; but do you know why this piece of art is so famous? Hold the face-up gaffed bill with your left middle and ring fingers on the bottom center of the flap (at the middle) and the first finger and thumb on the left bottom edge of the flap. Well, I'll get to that, but first things first. Check both sides. Flash the front and back of the gaffed bill as she examines hers. Watch what I do. While continuing to hold the bill with the left hand, use the right hand to fold the bill over once from right to left. 75

The Doors of Deception Keeping the flap flat, turn the left hand down and back again to flash both sides of the folded bill. With the right hand, take the bill by the edg^ just past the outer fulcrum of the flap, with th^ thumb on the top, outer part of the bill and the first finger underneath. Fold it again, but this time from left to right. Once this second fold is completed, you 11 move the secret flap as you transfer the bill from the right hand to the left as follows. Use the inside of the right ring finger to disengage the flap and begin to rotate the bills inner end upward and away from you. 76

Thou Shalt Not Steal As the bill goes from parallel to the floor in the right hand to aloft and almost vertical in the left, secretly move the flap from one side to the other. This entire action should look as if you merely moved the bill from hand to hand. As the right hand frees up, gesture for the participants bill. Let me see that one. Your left hand now holds the gaffed bill with the first finger and thumb at its lower left side, keeping the flap flush. Take her one-dollar bill with your right hand and bring it to the bill in the left. Orient her bill so that the similar parts of both bills come together, all while your left fingers and thumb continue to hold their positions. 77

The Doors of Deception Once the bills are aligned in the left hand, the packet can be shown all around because the flap is concealed benveen the bills. Point to her right hand. Please hold your hand out flat. Demonstrate by opening your own hand out flat, palm up. Rotate the left hand palm down until the packet of bills is parallel with the floor. The left fingers will now show on top, as will the twenty. Place the pair of bills, one at a time, into her hand so that they lie across her palm. Specifically, separate them by pulling slightly inward with the fingertips and push outward with the thumb; then, set the bottom one-dollar bill onto her right open palm and lift the gaff straight up and away. A one ... Do not inadvertently flash the other side of the bill youre still holding; just keep it parallel to the floor. To add a bit of misdirection, I sometimes reach forward with my right hand and turn the one-dollar bill over once in her hand. ...and a twenty, Elayna. Bring the gaffed bill down now and place it directly on top of the single in her hand. 78

Thou Shalt Not Steal Please close your hand. As she closes her hand into a fist, take it gently and turn it palm down. I think you’d agree that the money is safe in there. You probably dont trust anyone more than yourself to be holding them right now. After ally they might lie to make me look good, but in this position youre actually a step ahead. You think that in your hand those bills are as secure as the gold in Fort Knox. Yeah} well that’s the way the “establishment” thinks， too. I say we think about it outside the box. What are my chances, do you think, of getting the money out of there without you even knowing?... With your left hand, hold the participants hand still. / only need one of them to illustrate my point; so let me take one out. Let me just reach in there. It doesnt matter which one. Reach into her fist, with your right fingers underneath and thumb above, and remove the lower bill. This will be the gaffed twenty, which in this position will appear to be the one-dollar bill. 79

The Doors of Deception Well, look at that! Didnt I just tell you my goal was to get the money out of there? Elayna, I even said, 'without you even knowing' to let you know I was about to trick you, didnt I? Place the bill into your open left hand, being sure not to expose the opposing side. Bring your third finger in slightly to make sure the flap isnt visible, either. Proudly display the one-dollar bill youve just removed. You just fell for the oldest game in town. See how easy it is? As they say, sometimes all you have to do is ask. Its human nature, so it’s'hardfor you to fight against it. Keep your hand tight with the rest of the money right there, Elayna; I dont want you to walk away or even take that twenty out of my sight. ГП come back to it in a second. And that, my friends, is how the greatest art heist in the world was accomplished when the Mona Lisa was stolen by Vincenzo Peruggia. Did you know that's one of the main reasons why it's so famous? It's becausey as I was sayingy a little over a hundred years ago it was stolen. It’s true and crazy, this guy just walked out with it. Well there’s a little more to it than that. Heres the story. Peruggia went to the Louvrey took it off the wall, tucked it under his coat> and went to walk out with her. And that’s when 80

Thou Shalt Not Steal he ran into a problem: he was locked in. For some reason the door wouldnt open! Can you believe it? You know what he did? He removed the doorknob, but then, guess what. . . Even that didnt work! Finally} as luck would have it, a guy just happens to come by— a plumber~and Peruggia innocently asks him if bed open the door. And he did! The rest is history. In and out. No guns. No hostages. No getaway car. No drama. As they say, sometimes you just have to ask. I'll admit, Elayna, when I asked you to open your hand, you weren’t expecting that; so it’s kind of like cheating) but I flat out began by telling you it was a con, right? You， like that plumber, became an unsuspecting accomplice without even knowing it. How about giving me a chance to steal the rest of the money out of your hand. And this time, seriously, without you even knowing. Would that be good? It would be impossible! Let your left hand relax to the table with a loose grip around the one-dollar bill there. That plumber had no idea of the ramifications when he opened that door. Without even knowing it〉 he became part of the story. What I〉 ve told you so far is true. And now you are part of this story. Later, people are going to ask if you could really feel the money. Squeeze your hand. Tell them you can feel it. Good. Hold still, right there. You might feel a slight tingle— something a little like electricity ... To begin the transformation, rotate your left hand inward and palm down. Simultaneously, move your left first finger from the front (with the fingertip 81

The Doors of Deception near the КГ5 index) to the back, which is now facing upward, so that the fingernail and knuckle are in contact with w2〇55 index. First, Г11 show you something difficult; then Г11 do the impossible. Both hands will come together, and as this happens, a few things will take place. The bill is clipped between the left index and middle fingers. Under cover of the right hand, begin to open the left fingers. The bill, which is clipped between the fingers, will extend away from the left palm, allowing the flap to open slightly. Move the left thumb to the back of the bill onto the lower portion of the flap. With the right fingers covering the face, push up with your left thumb to rotate the bill forward, which also brings the flap flush against the lower half. 82

Thou Shalt Not Steal Massage the bill, blow on it, etc.—anything for the magic moment. With the flap now oriented for the twenty to be shown, slowly allow more and more of the bill to be seen as the right hand moves away. Finally, take it by just the left bottom corner with the left fingers at the front and thumb at the back. Look! Now I have the twenty. As you slowly unfold the transformed/transposed bill in your hands, tell her: Elayna, dont move. Deliberately show the bill, proving there is nothing hidden, extra, or odd. After freely showing the twenty all around, place the bill into your left side jacket pocket. That is the difficult part. It’s one thing if it happens in my hands. Of course, that’s not real magic; but open your hand. Let’s see. Look, impossible! As soon as she opens her hand, quickly snag the bill from her again. 83

The Doors of Deception Ha! I warned you Fd get it. With all the heat on this bill now, keep it very much in the open. No, I want you to do this part. This is the impossible. If I were to do it, youd say that's when I did the sleight of hand; but when it's in your own hands ... Hand the bill back to her. Go ahead, you open it. This is going to keep you up at night. And that, my friends， is why stealing isn’t so easy; often it’s hard work, otherwise wed all be doing it* Extending this humorous moment, point to your watch. See this watch? Point to a nearby spectator. It’s his! After a quick fhuckle, continue: I)m kidding. It’s mine ... now. I actually got it from some other guy. Do you still have your wallet? Nou/s the time to doublecheck. If youre performing this on its own or in your own routine, you can place this bill away with the other; if, however, you re following the full act explained here, say: Elayndy go ahead and hold onto that for me or just set it here. Maybe I’ll give someone a chance to win it later. And (perhaps) we will. * Elfriede Jelinek, Greed (2000). 84

Thou Shalt Not Steal Afterthoughts IVe routined this presentation so that the magician winds up with the larger denomination;* for everyday use, however, its best for the opposite to take place. For example, if youre performing the effect for a cocktail waitress, its better to have her end up with the larger bill so that she can just walk off perplexed and use it to close your tab. eg-, David Parr, Brainfood (1998), pp. 29-37. 85