the palmed card, now is a good time to use participant 4s search through the pack as misdirection to cross your arms (perhaps letting your posture suggest slight impatience) and secretly load the palmed card into your wallet. “Please, tell the truth. What was it? Four of Hearts? Are you sure? You mean you really did see it?... I'm just making sure. You see, because I wanted to show you something crazy: a perfect illusion. And what does that mean, a perfect illusion?... “Well, don’t you think it would be something you’d bet your life on seeing? You’d swear to it later —in front of a judge or God, you’d admit, right now, that your card was the Four of Hearts? Well, that’s funny because that card happens to be the only one missing. “You’re not going to believe this; but before I begin, I take one card out of the pack, sort of like a lucky card — I take this card and I mail it off...” If he continues to insist that he saw it, say, “The next thing you’ll tell me is you saw it over here, too!” broadly gesturing toward both of the selections in front of participants 1 and 2. 231
At that point hell insist that he did, indeed, see it over “there.” “Strange! You see, this has to do with perception and (perhaps, more importantly) expectations.” Take out your wallet and remove the envelope from the zippered compartment. If your method permits it, hand the envelope to the participant and have him tear it open and take out what’s inside. “There is no way you could have seen that card, The Four of Hearts, in there, ever, because THAT is the Four of Hearts. And, amazingly, from the time I began, its never been in the pack. “As I said: a perfect illusion. Thank you.” An Impromptu Handling: Sans Wallet If you do not have a wallet or a stack of envelopes, you can simply load the card into your pocket. While I think Ross’s idea of using the wallet is superior, card to pocket is, in a pinch, a strong alternative. 232
For example, once you come to participant 3 in your completely impromptu performance, covertly load the palmed card (selection 4) into the right outside jacket or trouser pocket to reveal later. To take things further, however, covertly place a card126 in your pocket before you begin. This can later serve as a stranger for a “Homing Card”127 ending, which will extend the Perfect Illusion concept by including everyone else. After removing the selection briefly place it back into the pocket, secretly exchanging it for the card previously placed there. You can now perform Grippo’s Out-jog Pip Concealment128 to display the telescoped “selection” before placing the cards into the participants hands. Have him square the cards himself, trapping the selection in the middle. At this point it is very effective to have the other spectators place their hands around 126 A Joker, as in “The More the Merrier,” would be perfect; see supra p. 65. 127 See supra pp. 64-73. 128 See supra pp. 69-72. 233
the pack together, ensuring that there is no way for you to get in and steal the selection out.129 Explain, again, that a perfect illusion is something that could not have been seen; yet everyone present will swear on their lives that they did see it. “Lawyers and psychologists know you can rarely trust what people believe they’ve witnessed. For instance, we’ve all seen your Four of Hearts go back into the pack; in fact, you pushed it in yourself, squared them up, and all of you have been holding on securely the entire time_Let me see if I can show it to you again.” Snap your fingers. “A perfect illusion! Go ahead, check the deck; look for the card”. Show your hand empty and say, “Were you hypnotized? Could your eyes have been playing tricks on you? Was it real magic? . . . Perception, expectation, imagination: these are very strange phenomena, indeed.” Reach into your pocket... 129 This is yet another example of Grippo’s genius; from personal communication with Joey Burton. 234
Envoi A Perplexing Procedure Over the years, I’ve come to find that “High Five,” in any of its variants, is often as perplexing to magicians and mentalists as it is to ordinary people. Something about the routine makes it very difficult to backtrack and discover the underlying secret. It took me a while to figure out what made the procedure so disconcerting to my colleagues, but now I am certain. Built into the procedure is a seriously smelly red herring, which fellow magi just cannot help sniffing out: the procedural 235
similarity to many familiar routines related to John Mendoza's “Routined Poker Mental.”130 Any magician who thinks that “High Five” is based on the principle behind “The Princess Card Trick”131 will have a very befuddled look on his face as you shuffle the cards before each yesor-no question. Then, as you move along, you will see him become increasingly nonplussed the more it becomes clear that the matrix principle cannot be at work. Questions of Order Since the original release of “High Five,” I have come to reconsider the order of the questions. They are printed above in their original sequence for the sake of comparison: I now feel it is superior to ask them in the opposite order. 130 John Mendoza, The Book of John: The Close-up Magic of John F. Mendoza (1978), pp. 19-23. While the roots of the principle behind this trick are less known these days, Mendoza’s approach has become quite popular: see e.g., “Liars Poker” from Darwin Ortiz, Scams & Fantasies with Cards (2002), pp. 26-33. Routines such as this are based on a matrix principle that has been used for centuries: see e.g., "The Pairs Re-Paired,” "The Twenty Card Trick,” “The Magic Couplets,” or, “Mutus, Nomen, Dedit, Cods” from, e.g., John Northern Hilliard, Greater Magic (1938), pg. 120-128; see also Paul Vigil, “H.C.E.” (2008). 131 Ibid. 236
Instead of asking the first participant if he sees his card, inquire, “Do you see a card that's the same color as your card?” Ask the second participant if he sees “a card of the same suit” as his selection and ask participant 3 if he notices “a card that is the same value” as the one he thought of. Finally, say to the last person, “Do you see your card? Now, please, let me go through them slowly to make sure you have a chance to see every last one of them.” By doing it this way, you will go from participant to participant, adding more cards each time as you ask them questions that become increasingly narrow and specific. This appears to give a kind of logic to the process, even though it also seems to yield little information. When and Where As stated earlier, “High Five” is either a standalone or closing routine for close-up work. If you’ve just read the minds of four participants, there is really not much more you can do; other types of routines should have come sooner. 237
Why keep poking your spectators with the sword after you’ve already slain them? To keep going and going could dampen the overall effect. You have to know when to stop. “High Five” has become one of my favorite impromptu card effects to perform for audiences of four or more spectators.132 When I was working at The Mirage, it was the perfect composition because many of the tables sat four guests; plus, in this effect the condition of the cards is irrelevant —the deck need not even be complete. Many times someone would hand me a souvenir, cancelled deck of casino cards and challenge me to do something. When done with borrowed cards the routine becomes an apparently improvised mystery. Magic vs. Mentalism? At MINDvention 2013 Joseph Atmore, Paul Draper and I were on a panel discussing a heated topic: Should a performer mix magic and mentalism? As I explained that evening, I 132 If you have fewer, it is obviously best to do another trick so that you do not compromise the secret. 238
do perform magic and mind reading, but I don’t necessarily “mix” them. I start with classical magic and move on to the moré mental aspects in the later stages of my show. That caveat did little to settle the storm. In my experience, when artistic mysteries are presented in the proper way, an audience will fail to appreciate any difference. As Jared Kopf has pointed out, great sleight-of-hand magic in and of itself creates a genuine effect of mentalistic experience: the magician literally controls the audiences perception, directs their attention, and implants a false reality.133 The goal of my shows, therefore, is to take my audience on a journey, in which each phenomenon feels so impossible as to border on the magical, even when, strictly speaking, there isn’t a “magic” effect involved. With all that said, some compositions can be exceptions to the rule. In “High Five,” for example, with its four revelations, I can effectively mix magic and mentalism because the routine comprises a series of effects. So, I often use these variations to display as many of 133 From personal communication. 239
my “powers” as possible, especially if I only have time to perform one routine for a group of people. This approach can add more depth to what can otherwise become an easily anticipated set of outcomes. Homogeneity is one of the reasons I've never moved toward a strictly mental set. The Lazy Man's Card Trick134 Imagine that you have already taken care of the first two selections. With participant 3's selection on top, several options are available. The simplest and most direct way is just to ask for the name of his card, then turn the top card over; this, however, can be made more fanciful by following the procedure of the “Lazy Mans Card Trick.” Remember to drop a few hints early on in the presentation by using some hedging lines for participant 3 (e.g., “I think you’re going to he a little more difficult,” “If I have any problems something tells me it will be here,” and/or “This 134 Al Koran, Abra No. 450 (September 11, 1954), p. 115 (with a presentation inspired by Dantes tired magician character and, later, popularized by Harry Loryane). 240
won’t be your fault; some people are just muchmore difficult to read, and you’re one of those!”). If circumstances have been advantageous, and you’ve decided to use the pocket and ditch the selection, or if you were able to load the wallet early, it would be wise to use this opportunity and use your now free hands to turn a double, showing his selection is not on top. Turn the double back down and then, briefly, take the deck in right-hand Biddle Grip and display the face of the deck, showing that it is also not on the bottom. Nevertheless, when it comes time to reveal person 3’s selection, you can say, “I feel like your card is a three, but I’m not sure what the suit of it is. Am I right on that?... Good. Let’s try something different: you tell me what your card is and I’ll tell you where it is.” Once he’s responded with the selection’s full identity, place your index finger on the top of the pack and close your eyes, ostensibly concentrating on locating the selection. After a moment announce: “Your card is 27 cards down. No, wait! 28 cards down ... I want to try something more, though.” 241
Things are about to get “magical” but there’s still the suggestion of clairvoyance. You are about to get credit not only for being able to divine the cards location, but also for the ability to translocate it. It may seem bold, but it’s highly effective when performed with conviction. Wave your hand over the pack and say, “It's may seem impossible, but by merely covering the pack in temporary darkness, I have caused your card to rise through the pack. Now your card is 15 from the top!... “But let me continue.”135 Repeat the gesture, this time announcing, “Now your card is third.” Once more, wave your hand over the pack and say, “Now its on top!” To prove your statement correct, have participant 3 turn over the top card and reveal the selection. 135 See e.g., Jack Millers “The Traveling Card” from John Scarne, Scarne On Card Tricks (1950), pp. 135-36, describing the rising aspect; published even earlier by Jack Miller under the name “Doc Miller” as “That Number Down” in Rufus Steele, 50 Tricks You Will Do (1946), but without the rising aspect or “lazy” presentation). 242
Think Stop136 This procedure can be taken even further, (while also maintaining the mental aspects of our initial scope) by incorporating the sequence from “Think Stop.” To accomplish this, on your initial run through the spread, up-jog selection 3, then backtrack to the right (as if weighing your options or thinking you might have passed it up) counting seven cards (in our example here, the Four of Hearts would happen on count one). Break the spread at this point and take the up-jogged card with the talon in the right hand, and, as before, begin to place it face down on the table between participants 1 and 2. Just before the card is tabled, suddenly change your mind and say, “I ought to go with my first impression 136 “'Think Stop,” uncredited, Jean Hugard and Frederick Braue, Royal Road To Card Magic (1948), pp. 229-31, explaining a mental application to the procedure: the magician announces that the card is at a certain position, but that he will count backwards, mentally, until the spectator calls, “Stop!” at which point the selection will be found in this new location; also contains aspects from a precursor, “Count Your Card!” Theodore Annemann, The Book Without a Name (1931). 243
Return the selection to the spread, keeping the deck necktied as you coalesce the halves. In this process you will have effectively placed participant 3s selection in the proper position for its denouement. After apparently deciding that this card is not the right one, continue as before by cutting the key to the bottom, and proceed as in the original until you come to the third person. When it comes time to deal with the third spectator, follow the previous presentation, only this time declare, “The selection is twenty-one from the top.” Quickly diverge and say, “I will count backwards mentally from this point. Just call out ‘Stop!’ anytime you’d like, sir.” Feign counting backwards until he does decide; then instantly announce, “Seven! You’ve stopped my count on seven. Your card must now be in the seventh position.” Finish by allowing him to count the cards himself. 244
From Your Pocket, Sir137 A third, and offbeat, sequence is to have person 3 find the card himself. This can best be accomplished if this participant is wearing a jacket that has inner-breast or outside pockets. Again, if your hands are able to become free, try to show the top and bottom cards are not the selection before beginning the following actions. Have the participant place the entire deck into one of his pockets. Note the orientation of the pack as he places it in. Usually the pack will go into the pocket with the faces toward his body, leaving the selection as the outermost card. 137 My introduction to this revelation was “Selected Cards From Spectators Pocket” from Harlan Tarbell, The Tarbell Course in Magic, Volume 1 (1928), pp. 227-28. While its originator’s name seems lost to history (the effect is always uncredited) it can also be found as “Several Cards Having Been Freely Chosen By The Company, Returned And Shuffled, And The Pack Placed In A Person's Pocket, To Make Such A Person Draw Out One By One The Chosen Cards” in Professor Hoffmann, Modern Magic (1876), p. 106; see also "Clairvoyance by Touch” in Robert-Houdin, Essential Robert-Houdin, p. 113-15, (1889, 2000); a popularized handling by Alexander Herrmann titled "The Egyptian Pocket," is published in Edwin T. Sachs, Sleight of Hand (1885), pp. 187-90; Jean Hugard, Encyclopedia of Card Tricks, (1937), pp. 97-98; see also Jean Hugard and Frederick Braue, The Royal Road to Card Magic (1948), pp. 263-67. 245
“Have you ever given a performance of magic? . . . No? Good. Then I will let you do something quite amazing for the rest of our audience here.” Explain that you will have him hold his jacket open with one hand, and with the other hand he is to quickly reach in and pull out a card. Because the selection is on top (and if he put the cards in with the backs outward) this card will be the easiest to remove as you rush him. As Hugard points out, “If you impress upon him that he must do it quickly the trick never fails.”138 However, if he somehow does not produce the right selection, simply state how difficult such a task truly is. Now all you have to do is declare, “Let me show you why I am the magician!”139 Reach into his pocket yourself, place your fingertips or thumb on the previously noted proper side, and bring this phase to a dramatic conclusion. 138 Jean Hugard, editor, Encyclopedia of Card Tricks (1937), p. 98. 139 From personal communication with Johnny Thompson: this presentational “out” is reminiscent of one used (on rare occasions) by Chan Canasta. 246
Epilogue The Show is over The lights have dimmed Yet the Mystery remains Not on the stage, But in the Minds & Spirits Of those who’ve borne witness For they can attest, Sans faith, To the miracles; Their story is the Magic now And it will become More Sensational Every time The Tale is told 247
Our Art may be ancient, but in some ways its quite new. Many of the methods we employ were almost certainly conceived only in the last couple of centuries, yet the psychology behind these conceits and motifs was discovered only the day before yesterday. I’m excited to see where we, as a whole, are going; for if the artist is the antenna of culture then surely the magician (in one of his many guises) is at the pinnacle. I often let my imagination wander around the idea that something as simple as a false transfer of a coin from one hand to the other, however much a fiction it may be, is a calling to achieve an abstraction — a lie to aid the truth. We are the buffer for the unimaginable reveries that await us. We are a beacon in the darkness. Lets’ not falter! ♦ ♦ ♦ A project like this can never be accomplished alone, and there are many to thank. It is with delight and pleasure that I acknowledge Jared Kopf. Better friends than you cannot be found, and I cannot imagine 248
what my life would be like without you in it. You’re the best and brightest; you make me smile about the future. The indefatigable dedication of your editing has worked wonders beyond my wildest hope. I look way better because of the light you shed, pal. I am beholden to Johnny Thompson, my confidante, mentor, friend, father, grandfather, and so much more. Thank you for showing me the way. I owe you more than you will ever know. I am forever grateful. Deep appreciation to Ross Johnson, not only for your embellishment in this book, but also for your guidance, vision, and, most importantly, friendship. I shamelessly allow your influence to change me for the better. My secret dream is to learn even more from you. Steve Reynolds: your expertise, technical proficiency, and assistance have proven invaluable; your knowledge is downright extraordinary. Thank you, not only for the surprising nuggets of history and crucial details, but also for the time you took to relay them. Joey Burton: this project would surely be lacking without the touches from your teacher, 249
Jimmy Grippo. I know he wished it all to be kept secret; but I truly believe that we are much better off with a few of his stunning secrets in our tool kits ... just a few, though. Jason England: for always being open and sharing; continually there with a touch or idea on whatever it is I’m working on. Kent Gunn: what a wonderful comrade (and interesting character)! Thank you for helping my investigation. Dr. Alpen Nacar: miss you, you fuck. Gary Plants: for, again, reminding me that what is old can be new once more. Howard Hamburg: the world would be better with more storytellers like you. With any luck, this work has helped to preserve the history you hold so dear. To John Wilson and Chris Rose for kindly reviewing early drafts with attentive eyes. I take full responsibility for the (inevitable) mistakes and omissions that have crept in since. Special thanks to Rob Domenech for capturing the photograph featured on the final page. 250
All of you are prominent players in my life. Your advice, generosity, and aid in research have helped to ensure the accuracy of this document. Also to Denis Behr's Conjuring Archive and the Conjuring Arts Research Centers Ask Alexander for invaluable history. And to each of you who has purchased these thoughts. I hope you use them in your own way to mystify and entertain. To magic, then! The lie that tells the truth It began at the dawn of humanity, And it lives. . . In us 251
About the Author Two-time Merlin Award recipient Paul Vigil is one of the most mesmerizing and engaging performers in the world. His evening parlor show at King Ink inside The Mirage (which ran from 2010 to 2013) held its own against the multimillion dollar shows for which the city is famous, gathering standing room only crowds week after week. He is the creator of several critically acclaimed effects, including Sympathy (for the Devil) Cards, ICON, Diplopia, and H.C.E. Classic Fantastic is his first major collection of original material.