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2
READY. SET. GuastaferrO.
READY
SET
GUASTAFERRO
Photos by Jenny V.
Copyright
2012
|
John
Guastaferro
|
www.MagicJohnG.com
All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including
photocopy, recording, or any information storage and retrieval system now known to be invented, without written permission.
3
READY. SET. GuastaferrO.
4
READY. SET. GuastaferrO.
CONTENTS
Openers
1. Invisible Opener
2. RWB
Mysteries
3. Mr. E. Returns
4. Spectral
5. Centerfold
6. Twist of Fate
Triumphs
7. Bound to Triumph
8. Untouchable
Multitudes
9. Inside and Out
10. Triple Pocket Discovery
Four-Closures
11. Assembly Line
12. Pickpocket Aces
5
READY. SET. GuastaferrO.
Whats
your
opening
line
when
approaching
a
group
during
a
strolling
magic
performance?
Lets
face
it;
it
can
be
quite
awkward
invading
a
groups
current
experience
to
introduce
them
to
a
new
one.
The
strategy
is
to
make
them
curious,
not
defensive.
One
of
my
favorite
opening
lines
is:
Excuse
me,
can
I
borrow
your
imagination
for
a
moment?
I
find
it
polite,
non-intrusive,
inviting,
slightly
unusual,
and
most
importantly,
it
raises
curiosity.
They
are
thinking,
What
does
he
mean,
borrow
my
imagination?
With
a
question
like
this,
its
important
to
follow
up
with
something
that
does
indeed
capture
their
imagination.
The
first
effect
in
this
book,
Invisible
Opener,
is
designed
to
deliver
on
this
opening
line
in
a
big
way.
A
mini-routine
in
itself,
it
is
a
powerful
presentation
for
the
Invisible
Deck.
It
allows
you
to
make
all
your
props
magically
appear
and
engage
your
audiences
with
lines
like,
Imagine
that
you
are
holding
hundreds
of
dollars
in
poker
chips
and
Imagine
that
instead
of
two
rubberbands,
you
are
holding
the
very
handcuffs
used
by
Houdini.
You
might
think
that
using
an
opening
line
with
a
yes/no
question
could
risk
the
chance
of
a
no
response.
I
think
youll
find,
as
I
have,
that
people
dont
answer
no,
and
instead
respond
with
a
look
of
interest
and
curiosity.
The
question
is
rhetorical
by
nature
and
doesnt
demand
a
serious
answer.
Now,
if
I
should
get
a
no
response,
I
would
simply
reply,
Too
late
or
Of
course
not;
you
wouldnt
just
give
your
imagination
away
that
easily.
Let
me
introduce
myself...
You
could
always
just
frame
the
opening
line
as
a
statement
rather
than
a
question,
such
as,
Excuse
me,
I
just
need
to
borrow
your
imagination
for
a
moment.
And,
depending
on
your
style,
this
opening
line
might
not
fit
your
personality
at
all,
and
thats
okay.
The
key
is
to
get
thinking
about
the
opening
line
you
do
useand
how
to
best
deliver
on
it.
6
READY. SET. GuastaferrO.
READY.
I
now
ask
you,
Can
I
borrow
YOUR
imagination?
Can
I
invite
you
into
my
repertoire?
Get
ready.
For
the
majority
of
these
effects,
youll
simply
need
a
deck
of
cards.
Youll
also
discover
effects
and
variations
that
integrate
additional
props,
such
as
a
plain
notecard,
poker
chips,
rubberbands,
sticky
notes,
blank
cards,
odd-backed
cards
and
the
card
box
itself.
SET.
You
can
build
a
strong
set
by
selecting
an
effect
from
each
of
the
five
chapters.
Youll
find
a
collection
of
openers,
middle
effects,
and
closers.
Youll
also
find
plenty
of
opportunities
for
continuity,
such
as
using
the
rubberbands
from
the
opening
effect
later
in
your
set
to
perform
Bound
To
Triumph
(Chapter
3);
or
showing
a
blank
deck
in
RWB
(Chapter
1),
then
closing
with
a
blank
deck
in
Assembly
Line
(Chapter
5);
or
highlighting
the
hands
off
approach
of
both
Spectral
(Chapter
2)
and
Untouchable
(Chapter
3).
You
can
find
continuity
in
many
forms,
including
these
five
Ps:
plot,
premise,
presentation,
props
and
patter.
Its
all
about
connecting
the
dots
and
highlighting
these
connections
during
performance.
GuastaferrO.
As
David
Regal
writes,
This
collection
has
the
Guastaferro
stamp
of
simplicity,
structure
and
surprise.
This
is
my
brand
of
magic,
introduced
in
Brainstorm
(2003).
Those
of
you
familiar
with
my
work
will
see
both
brand
new
effects
and
some
new
variations
that
have
been
taken
to
another
level
with
little
extra
effort.
I
consider
this
booklet
a
continuation
of
the
one
degree
philosophy
I
introduced
in
my
book
One
Degree
(2010),
where
small
changes
can
yield
massive
impact.
Whether
you
perform
the
effects
exactly
as
described
or
use
them
as
a
launching
pad
for
other
ideas,
I
hope
you
find
the
material
strong,
practical
and
stimulating.
These
effects
are
no
longer
about
me.
They
are
now
about
you
and
where
you
take
them.
Get
ready,
get
set
7
READY. SET. GuastaferrO.
8
READY. SET. GuastaferrO.
CHAPTER 1
Openers
Make an amazing first impression
9
READY. SET. GuastaferrO.
QUICK TIP
Just
as
important
as
hearing,
They
loved
your
magic!
is
hearing,
They
loved
YOU!
As
magicians,
these
are
inseparable
goals.
Let
your
audience
get
to
know
you,
not
just
your
props.
10
READY. SET. GuastaferrO.
1. Invisible Opener
EFFECT:
In
a
game
of
pretend,
imaginary
items
appear
from
nowhere,
including
poker
chips,
a
deck
of
cards
and
rubberbands.
Virtually
all
of
my
strolling
performances
include
a
coin
production
and
vanish,
the
Penetrating
Rubberbands
(popularly
known
as
Crazy
Man's
Handcuffs),
and
the
classic
Invisible
Deck.
It
was
my
goal
to
create
one
cohesive
routine
that
would
seamlessly
link
these
effects.
The
result
is
Invisible
Opener.
It
allows
me
to
begin
with
my
hands
completely
empty
and
produce
all
the
props
I
need
out
of
thin
air.
Its
fun,
visual,
interactive
and
memorable.
The
3-minute
routine
features:
1. A
production
of
several
poker
chips
2. A
deck
production
3. A
production
of
two
rubberbands
4. A
prequel
to
the
classic
Invisible
Deck
5. A
built-in
deck
switch
to
continue
with
more
card
effects
More
than
just
a
string
of
separate
effects,
the
routines
structure
and
premise
create
an
experience
for
your
audience.
While
Invisible
Opener
is
obviously
personalized
for
the
specific
props
I
use,
Im
certain
you
will
have
fun
exploring
ways
to
integrate
your
own
props
and
personal
style.
Ive
always
thought
that
magicians,
who
routinely
demonstrate
that
they
can
make
things
appear,
disappear,
change,
and
so
on,
should
be
able
to
magically
make
their
props
appear
at
will.
Why
then
would
they
take
decks,
coins,
etc.
out
of
their
pockets
like
ordinary
mortals?
How
ordinary!
How
banal!
With
his
Invisible
Opener,
John
G.
effectively
addresses
this
long-standing
paradox.
- Jon
Racherbaumer
11
READY. SET. GuastaferrO.
SETUP:
Youll
need
an
Invisible
Deck,
two
rubberbands,
and
two
identical
poker
chipsthe
higher
the
value
the
better.
I
use
two
$100
replica
chips.
Wrap
the
two
rubberbands
around
the
Invisible
Deck
case.
Place
the
deck
and
both
poker
chips
in
your
left
pants
pocket.
Also
have
a
regular
deck
in
any
other
pocket
if
youd
like
to
continue
with
a
card
set
after
this
effect.
12
READY. SET. GuastaferrO.
VEGAS PRODUCTION
The
routine
begins
with
a
flurry
that
apparently
produces
a
handful
of
poker
chips,
yet
only
two
are
ever
in
play.
Remember,
your
first
spectator
is
holding
an
imaginary
stack
of
chips,
so
as
you
produce
them,
do
so
as
if
plucking
them
from
her
hands.
While
each
step
is
broken
down
below,
its
a
very
fluid
production
sequence.
Production
Invite
your
spectator
to
place
one
of
her
imaginary
poker
chips
on
your
outstretched
left
palm.
As
you
do
this,
drop
your
right
hand
to
your
side
and
let
the
sleeved
poker
chip
fall
into
finger
palm,
then
transfer
it
to
thumb
clip.
Close
your
left
fingers
into
a
loose
fist.
Invite
the
spectator
to
wave
her
hand
over
your
fist,
but
first
demonstrate
by
waving
your
right
hand.
During
this
casual
display,
slightly
open
your
left
fingers.
As
your
right
hand
waves
back
and
forth,
let
the
thumb-clipped
chip
fly
in
a
forward
trajectory
into
your
cupped
left
hand.
After
the
spectator
waves
her
hand,
open
your
left
fingers
to
reveal
the
poker
chip.
Vanish
Take
the
chip
in
the
right
fingertips,
then
apparently
place
it
back
in
the
left
hand
using
a
Retention
Pass.
Extend
your
closed
left
hand
toward
the
spectator
as
if
to
hand
them
the
chip,
then
snap
your
fingers
and
show
that
the
chip
has
vanished.
Say,
As
they
say,
what
happens
in
Vegasstays
in
Vegas.
Reproduction
With
the
poker
chip
concealed
in
right
finger
palm,
reproduce
it
by
reaching
forward
and
pushing
it
into
view
(you
can
produce
it
from
a
candle
flame,
under
the
table,
behind
someones
ear,
your
elbow,
etc.).
Production
2
False
transfer
the
chip
into
your
left
hand
and
apparently
place
the
chip
away
in
your
pocket.
Secretly
position
the
right
hands
chip
into
thumb
clip.
Reach
your
empty
left
hand
forward
and
mime
plucking
a
chip.
Hold
the
left
hand
still
with
your
fingers
pointing
upward.
Swipe
your
right
hand
horizontally
in
front
of
the
left
fingertips
(back
of
the
right
hand
toward
the
audience),
and
secretly
transfer
the
chip
from
thumb
clip
so
it
is
openly
held
at
the
left
fingertips.
It
should
look
as
if
the
chip
materializes
in
the
left
fingertips.
Briefly
take
the
chip
in
the
right
hand
and
false
13
READY. SET. GuastaferrO.
transfer
it
to
the
left
hand.
Apparently
place
the
chip
into
your
pocket
as
your
left
hand
secretly
steals
the
extra
poker
chip
in
finger
palm.
Productions
3
&
4
Extend
your
right
hand
forward
and
push
its
chip
into
view.
Apparently
transfer
this
chip
to
left
hand
using
a
Shuttle
Pass.
Briefly:
Turn
your
right
hand
palm
down,
retaining
the
chip
in
finger
palm;
at
the
same
time,
turn
your
left
hand
palm
up
directly
under
the
right
hand;
pull
your
right
hand
away
to
expose
the
left
hands
chip.
Raise
your
left
hand
to
display
the
chip
at
the
fingertips.
You
will
now
make
a
second
chip
appear
in
a
visual
way.
With
the
other
chip
concealed
in
right
finger
palm,
begin
rotating
your
hands
around
each
other,
one
in
front
of
the
other.
During
this
movement,
your
right
fingers
push
its
chip
into
view.
Slow
your
hands
down
so
two
poker
chips
gradually
come
into
view.
Prepare
for
a
Click
Pass.
Display
both
chips
on
your
outstretched
right
hand:
one
chip
near
the
fingertips
and
the
other
on
your
palm.
Rotate
your
hand
so
the
fingertips
point
toward
you.
Retain
the
uppermost
chip
in
Classic
palm.
Apparently
toss
both
chips
into
your
left
hand,
but
only
let
the
palmed
chip
fall
into
your
left
hand
as
it
clinks
against
the
finger-palmed
chip.
Your
left
hand
immediately
closes
as
if
holding
two
poker
chips.
The
sound
of
the
two
chips
is
a
great
convincer.
Dip
your
left
hand
into
your
pocket
to
apparently
place
both
chips
away;
really
just
one
chip.
Productions
5
&
6
As
youve
done
before,
extend
your
right
hand
forward
and
reveal
the
concealed
chip
as
if
plucking
it
from
thin
air.
Do
another
false
transfer
into
the
left
hand
and
pretend
to
place
it
in
your
left
pocket
(keep
your
left
hand
in
your
pocket
momentarily
as
you
prepare
to
steal
the
deck).
Meanwhile,
reveal
the
right
hands
chip
one
more
time,
but
instead
of
placing
this
away,
genuinely
hand
it
to
your
spectator.
DECK PRODUCTION
You
will
now
produce
the
deck
in
a
startling
fashion.
Ive
tried
several
approaches
and
have
found
the
following
choreography
to
provide
the
most
cover
and
yield
the
most
cover
and
visual
impact.
Your
left
hand
is
justifiably
in
your
pocket
to
place
its
chip
away
from
the
previous
phase.
Secretly
take
hold
of
the
deck,
gripping
the
far
short
edge
in
your
curled
left
fingers.
As
you
do
this,
draw
attention
to
the
spectator
14
READY. SET. GuastaferrO.
holding
the
imaginary
deck.
Reach
your
right
hand
forward
and
mime
taking
the
deck,
then
turn
it
palm
up
as
if
holding
an
invisible
deck.
Bring
your
left
hand
(and
concealed
deck)
toward
the
right.
Extend
your
left
index
finger
and
tap
the
right
palm
in
a
gesture
that
shows
the
right
hand
empty
(photo
1).
To
provide
cover
for
the
deck,
align
the
right
long
edge
of
the
deck
against
your
right
wrist/forearm.
Your
right
palm
should
be
bent
downward
slightly
to
provide
the
best
angles
(photo
2).
I
suggest
looking
in
the
mirror
and
making
minor
tweaks,
such
as
tilting
the
left
side
of
the
deck
downward.
1 2
To
produce
the
deck,
slide
your
left
hand
forward
and
toward
the
right
until
it
covers
the
right
hand.
Take
hold
of
the
deck
in
the
right
fingertips,
then
swipe
your
left
hand
back
to
reveal
the
deck
(photo
3).
Open
your
left
fingers
as
you
do
this
for
an
open
and
visual
production
3
of
the
rubberbanded
deck.
15
READY. SET. GuastaferrO.
INVISIBLE DECK
By
making
all
of
the
imaginary
props
appear
from
nowhere,
you
have
created
the
ideal
moment
to
reveal
the
thought-of
card
in
your
Invisible
Deck.
Everything
has
built
up
to
this.
This
is
not
only
a
powerful
moment;
it
strengthens
the
premise
of
the
entire
routine.
HOUDINIS HANDCUFFS
Since
rubberbands
were
used
around
the
card
case,
you
have
an
inherent
segue
into
a
rubberband
effect.
Place
the
chip
and
deck
away,
and
draw
attention
to
the
rubberbands.
I
like
to
say,
Imagine
for
a
moment
that
instead
of
just
two
rubberbands,
you
are
actually
holding
the
very
handcuffs
used
by
the
great
Houdini.
I
proceed
to
escape
from
the
bands
using
the
classic
Penetrating
Rubberbands
(known
to
many
as
Crazy
Mans
Handcuffs).
You
can
certainly
continue
with
any
rubberband
effect
you
wish,
as
long
as
it
fits
the
presentation.
Also
note
that
the
rubberbands
can
be
used
again
later
in
your
set
to
perform
Bound
To
Triumph
(Chapter
3).
DECK SWITCH
Finally,
Id
like
to
point
out
the
natural
opportunity
to
switch
decks.
You
merely
have
to
place
the
Invisible
Deck
away
as
your
perform
the
rubberband
effect,
then
remove
a
normal
deck
of
cards
when
you
are
done.
You
are
now
free
to
continue
with
your
set.
I
like
to
continue
with
the
following
effect,
RWB.
NOTES:
Joe
Berg
created
the
Ultra
Mental
in
the
1930s.
It
was
Eddie
Fields
who
popularized
its
presentation
as
an
invisible
deck.
Arthur
Setteringtons
(uncredited)
Uncanny
Penetrating
Rubberbands
can
be
found
in
Tarbell,
Vol.
7.
You
dont
have
to
do
the
entire
Invisible
Deck
presentation.
The
handling
works
just
as
well
to
simply
produce
poker
chips,
bands
and
your
normal
deck.
And
in
truly
impromptu
situations,
Ive
had
fun
substituting
the
above
props
with
anything
on
hand,
such
as
two
quarters,
followed
by
producing
my
wallet
or
phone.
16
READY. SET. GuastaferrO.
EFFECT:
The
deck
changes
from
red
to
blue.
And
in
a
bit
of
American
patriotism,
even
the
faces
vanish
for
a
moment,
giving
you
a
complete
red,
white,
and
blue
change.
Ballet
Stunner
from
One
Degree
is
one
of
my
favorite
color-changing
deck
effects.
In
exploring
the
effect
further,
I
found
that
the
two
most
powerful
moments
are
the
visual
color
change
using
the
Ballet
Cut
and
the
kicker
of
showing
that
the
selection
has
also
changed
color.
RWB
strips
away
everything
else
to
focus
on
these
two
primary
moments.
Compared
to
Ballet
Stunner,
RWB
does
away
with
the
Triumph
phase,
eliminates
the
force,
and
brings
the
color
change
front
row
center.
The
structure
of
the
effect
also
allows
for
an
optional
blank
deck
kicker.
SETUP:
Only
one
odd-backed
card
(a
Joker)
is
used.
Place
a
red-backed
Joker
on
top
of
a
blue
deck,
and
place
everything
inside
a
red
box.
If
youd
like
to
do
the
optional
blank
deck
kicker,
use
a
red-backed
blank
face
card
instead
of
the
Joker.
17
READY. SET. GuastaferrO.
Square
the
deck
and
carefully
turn
it
face
up.
Perform
a
series
of
swing
cuts
into
the
left
hand.
Casually
flash
the
red
back
of
the
right
packet
during
this
process.
Continue
cutting
until
the
red
card
is
about
four
or
five
cards
from
the
face.
As
you
square
the
deck,
keep
a
left
pinky
break
under
the
red-backed
Joker.
Say,
Id
like
to
do
something
a
little
different
and
have
you
select
a
card
with
the
deck
face
UP.
Spread
the
cards
and
cull
the
red-backed
Joker
underneath
the
spread.
Have
the
spectator
touch
or
name
any
card
near
the
center.
Outjog
the
selection
as
you
load
the
culled
Joker
card
under
it.
1 2
3 4
With
the
selection
outjogged,
close
the
spread
and
maintain
a
left
pink
break
under
the
Joker.
Your
right
hand
re-grips
the
block
above
the
selection
in
end
grip
(photo
1).
Lift
the
top
half
toward
you
as
your
left
index
finger
simultaneously
pulls
the
selection
flush
with
the
bottom
half
(photo
2).
This
leaves
you
with
a
double
above
your
break.
You
will
now
turn
the
double
(selection
and
Joker)
face
down.
With
the
upper
half
of
the
deck
still
in
the
right
hand,
grasp
the
double
from
above
in
end
grip
(photo
3).
Sidejog
the
double
and
clamp
your
left
thumb
down
to
hold
it
in
place.
Use
the
right
packet
to
lever
the
double
face
down
onto
the
bottom
half.
A
red
back
will
show.
Use
18
READY. SET. GuastaferrO.
the
tip
of
your
right
middle
finger
to
outjog
the
red-backed
card
(photo
4).
Notice
how
during
these
actions,
the
top
half
becomes
square
with
the
bottom
half
and
automatically
covers
the
hidden
reversed
selection.
You
have
the
red-backed
Joker
outjogged
from
the
center
of
the
face-up
deck.
While
they
believe
this
is
the
selection,
the
actual
card
is
reversed
in
the
center
of
the
deck.
Ballet
Change
Say,
I
thought
I
would
try
to
magically
change
the
back
of
your
card
from
red
to
blue...the
only
problem
is
that
I
havent
figured
out
a
way
to
do
it.
But,
I
do
know
how
to
do
something
even
better!
Feint
trying
to
change
the
color
of
the
outjogged
selection,
then
remove
and
place
the
red-backed
card
face
down
onto
the
face-up
deck.
You
are
now
in
perfect
position
to
perform
my
Ballet
Cut
as
a
visual
color
change
of
the
deck
(see
One
Degree
for
details).
The
Ballet
Cut,
which
essentially
just
turns
the
deck
over,
will
bring
the
blue
cards
into
view.
Immediately
spread
through
the
deck
to
show
that
the
backs
have
all
changed
from
red
to
blue.
Say,
Ill
change
ALL
the
cards
from
red
to
blue,
except
for
your
card.
When
you
arrive
at
the
face-up
selection,
outjog
it.
Continue,
Well,
let
me
see
if
I
can
make
good
on
my
original
promise
and
change
the
back
of
your
card
too.
Pause
a
beat,
then
turn
the
selection
over
to
show
that
it
has
also
changed
to
blue.
Great
kicker
for
little
work.
Clean
up
The
core
effect
is
over.
You
simply
have
to
ditch
the
reversed
odd-backed
card
thats
on
the
bottom.
Since
its
a
Joker,
its
logical
to
remove
it,
however,
it
must
be
reversed
first.
To
do
this,
spread
through
half
the
cards,
turn
them
over
and
place
them
on
the
bottom.
Continue
spreading
the
remainder
of
the
face-down
cards,
turn
them
over
and
place
them
on
the
bottom.
The
Joker
should
now
be
at
the
face.
Simply
place
it
on
your
pocket
as
if
its
not
needed,
and
you
are
now
clean.
19
READY. SET. GuastaferrO.
To
clean
up,
square
the
deck
and
turn
it
face
down.
Steal
the
blank-faced
bottom
card
in
Gamblers
Cop
as
you
hand
an
audience
member
the
deck.
Snap
your
fingers
and
have
them
turn
the
deck
over
to
show
that
they
now
are
all
printed.
This
gives
you
ample
cover
to
pocket
the
blank
card.
Since
they
are
holding
the
deck,
they
now
have
complete
freedom
to
examine
the
deck.
Alternative
Handing
for
Blank
Deck
Kicker:
With
a
little
extra
effort,
you
can
make
the
blank
transformation
even
more
visual.
After
the
Ballet
Cut,
do
not
use
a
Half
Pass
to
reverse
the
bottom
blank-faced
card.
Instead,
use
the
actions
of
a
side
steal
to
palm
the
card
in
the
right
hand
(your
left
fingers
push
the
bottom
card
toward
the
right
as
your
right
hand
takes
it
in
full
Classic
palm).
Turn
the
deck
face
up.
Wave
your
right
hand
over
the
deck
and
let
the
palmed
card
fall
squarely
onto
the
face
of
the
decka
blank
face
will
show.
Perform
a
reverse
fan
to
show
that
all
the
cards
are
blank.
Square
the
deck
and
use
the
Erdnase
(Houdini)
Change
to
cause
the
blank
card
to
change
into
a
normal
card.
Push
off
a
small
block
to
hide
the
blank
card
(second
down)
and
continue
spreading
to
show
that
all
the
cards
are
now
printed
again.
Double
undercut
two
cards
to
the
bottom,
then
steal
the
blank-faced
bottom
card
in
Gamblers
Cop
as
you
hand
an
audience
member
the
deck.
Secretly
pocket
the
card
and
you
are
clean.
NOTES:
The
Ballet
Cut
can
be
found
on
my
Brainstorm
DVDs
(2003)
and
One
Degree
(2010).
Notice
how
during
the
core
of
the
routine,
the
face
of
the
red-backed
card
is
not
seenunless
you
want
it
to
be.
This
opens
the
door
to
many
possibilities.
Ive
described
using
the
odd-backed
card
as
a
Joker
and
as
a
blank
card.
Another
idea
is
to
use
a
red/blue
double-backer,
which
would
allow
you
to
show
a
complete
spread
of
blue
cards
at
the
end.
There
are
certainly
other
applications.
Have
fun
exploring.
In
an
election
year,
you
may
want
to
let
the
colors
represent
the
republican
(red)
and
democrat
(blue)
parties.
The
presentation
could
be
about
changing
party
affiliation
or
mixing
ideologies.
20
READY. SET. GuastaferrO.
CHAPTER 2
Mysteries
Curious Card Impossibilities
21
READY. SET. GuastaferrO.
QUICK TIP
To
make
your
effects
shine
as
brightly
as
possible,
follow
this
advice
from
David
Regal:
COMMIT!
22
READY. SET. GuastaferrO.
3. Mr. E. Returns
EFFECT:
A
card
that
is
used
as
a
magic
wand
throughout
the
effect
ends
up
being
the
spectators
signed
selection.
The
mystery
card
plot
has
fascinated
me
since
first
reading
Brother
John
Hammans
The
Signed
Card
in
the
mid-80s.
My
effect
Mr.
E.
Takes
a
Stroll
from
One
Degree
(2010),
generated
quite
a
bit
of
interest
from
magicians
for
its
simplicity
and
structure.
Yet,
I
must
admit,
there
continued
to
be
an
issue
that
gnawed
at
me
namely
in
trying
to
answer
why
two
cards
were
placed
around
the
mystery
card
in
the
first
place.
With
Mr.
E.
Returns,
I
focus
the
presentation
on
answering
this
question.
By
characterizing
the
mystery
card
as
a
magic
wand
and
the
two
Jokers
as
the
white
tips
of
the
wand,
it
provides
clarity
that
I
find
very
satisfyingand
an
entertaining
hook
to
boot.
While
it
does
not
have
the
Ace
cutting
phase
or
transposition
of
the
original
Mr.
E.,
it
has
some
new
magical
moments,
all
structured
to
make
the
final
reveal
of
the
mystery
card
as
deceptive
and
surprising
as
possible.
SETUP:
Youll
need
a
marker
and
two
identical
Jokers.
One
Joker
is
on
top
of
the
deck
and
the
other
is
in
your
right
pocket.
23
READY. SET. GuastaferrO.
Say
to
the
other
spectator,
You
will
be
our
worthy
assistant.
Please
choose
any
card
and
sign
it
on
the
face.
Have
any
card
selected
and
signed.
Do
not
look
at
the
card.
Meanwhile,
hold
the
deck
in
end
grip
and
secure
a
right
thumb
break
above
the
bottom
two
cards
in
preparation
for
a
J.K.
Hartman
control.
Swing
cut
half
the
deck
into
your
left
hand.
Extend
your
left
hand
to
have
the
selection
returned
squarely
on
top
(onto
the
Joker).
Bring
the
right
hand
over
the
left
packet
just
for
an
instant
and
secretly
unload
the
two
cards
below
your
break.
Immediately
separate
your
hands
as
if
a
thought
came
to
mind.
I
usually
say,
You
signed
the
card,
right?
or
You
wont
forget
the
card,
will
you?
The
point
is
to
disguise
the
momentary
contact
of
the
halves.
To
complete
the
sequence,
your
left
thumb
pushes
the
top
card
of
its
half
onto
the
right
packet,
angle-jogged
toward
the
left;
your
right
forefinger
holds
this
card
in
place.
Place
the
left-hand
packet
squarely
onto
the
balance
of
the
deck,
leaving
the
decoy
card
protruding
from
the
center.
The
selection
is
actually
second
from
the
top;
the
Joker
is
third.
Ambitious
Revelation
Slowly
square
the
outjogged
card
with
the
deck.
Say,
Clearly,
your
card
is
not
on
the
top
or
bottom.
Fairly
show
the
top
and
bottom
cards.
Continue,
Even
though
the
card
is
lost
in
the
middle,
this
is
no
match
for
our
magician.
Please
wave
your
magic
wand
over
the
deck.
Perform
a
double
turnover
to
show
the
signed
card.
Repeat
the
double
and
deal
the
top
card
face
down
to
the
table.
I
like
to
place
the
marker
on
top
of
this
card
to
strengthen
the
thought
that
it
is
the
signed
selection.
Say,
Very
impressive!
Lets
try
something
even
better.
Youre
going
to
need
a
better
wand
thoughyou
know,
one
that
has
the
fancy
white
tips
and
all.
Lets
find
the
two
Jokers
and
use
them
as
the
white
tips.
Do
some
false
cuts,
then
a
double
turnover
to
show
a
Joker.
Turn
the
double
face
down
and
place
the
top
card
(actually
the
selection)
onto
the
mystery
card.
Double
undercut
the
top
card
to
the
bottom,
then
turn
the
deck
face
up
(or
do
my
Ballet
Cut)
to
show
another
Joker
on
the
face
of
the
deck.
Fairly
place
this
Joker
face
down
under
the
mystery
card.
Just
after
youve
done
this,
say,
I
think
your
magic
wand
would
look
better
with
the
Jokers
face
up.
Ah,
thats
better.
As
you
say
this,
you
will
execute
a
devious
switch
based
on
Hammans
original
switch,
but
youll
use
one
hand
to
do
it.
Reach
toward
the
three
cards
with
your
right
hand.
Openly
take
the
bottom
card,
turn
it
face
up
and
24
READY. SET. GuastaferrO.
replace
it
on
top
of
the
remaining
two
cards;
take
the
new
bottom
card,
turn
it
face
up
and
replace
it
on
the
bottom.
This
not
only
shows
the
two
Jokers,
it
apparently
leaves
the
middle
card
untouched.
This
is
all
done
casually.
Since
it
is
an
incidental
gesture
rather
than
pinnacle
moment,
the
switch
easily
flies
under
the
radar.
Plus,
it
actually
makes
sense
in
the
presentation
to
surround
the
mystery
card
with
two
face-up
Jokers,
since
they
resemble
white
tips
of
a
magic
wand.
The
Vanishing
Say,
With
your
new
fancy
wand,
you
can
do
something
even
more
powerfullike
making
the
signed
card
disappear.
Place
your
right
hand
flat
onto
the
tabled
card
and
have
the
spectator
wave
the
three
cards
over.
Raise
your
hand
to
show
the
card
still
there.
Say,
Hmm,
I
think
you
need
to
say
some
magic
words.
Lets
try
it
again,
this
time
with
feeling.
Re-position
the
tabled
card
side-jogged
on
the
deck
in
preparation
for
the
Rub-a-Dub
Vanish.
Apparently
isolate
the
card
under
your
right
hand,
but
use
your
left
thumb
to
secretly
pull
the
card
flush
with
the
deck.
With
your
right
hand
flat
on
the
table,
ask
your
other
spectator
to
place
her
hand
on
top
of
yours.
After
your
magician
waves
the
three
cards
over,
lift
your
hands
to
show
that
the
card
is
gone!
Mr.
E.
Returns
Spread
the
deck
face
up
and
show
that
the
selection
is
nowhere
to
be
found.
Draw
attention
to
the
three
cards
held
by
your
magician.
Fairly
remove
the
two
Jokers
and
gesture
toward
the
face-down
card
that
remains
held
in
her
fingertips.
Remind
everyone
that
this
card
has
been
there
from
the
very
start.
Say,
I
mentioned
earlier
that
the
power
is
in
your
handsand
indeed
it
is.
Invite
her
to
turn
the
card
over.
To
everyones
surprise,
it
will
be
the
signed
selection.
NOTES:
Switching
a
card
under
the
pretext
of
sandwiching
it
between
two
others
can
be
found
in
Brother
John
Hammans
The
Signed
Card,
found
in
Richard
Kaufmans
Almanac,
Issue
14
(1983),
and
later
in
The
Secrets
of
Brother
John
Hamman
(1989).
The
control
I
use
is
based
on
J.K
Hartmans
R.S.
Bluff
Control
(second
variation),
published
in
Means
&
Ends
(1973),
and
later
in
Card
Craft
(1991).
The
Rub-a-Dub
Vanish
can
be
found
in
William
H.
McCaffreys
routine
Card
In
The
Pocket
II
from
Greater
Magic
(1938),
and
in
Expert
Card
Technique
(1940).
25
READY. SET. GuastaferrO.
4. Spectral
EFFECT:
A
freely
selected
card
vanishes
and
reappears
in
a
most
mysterious
way.
My
friend
John
Carey
really
sparked
something
when
he
sent
me
a
gem
called
Impossible
Conclusion,
which
used
an
automatic
placement
to
control
a
card
from
within
three
tabled
packets.
The
principle
at
work
is
Gene
Finnells
Free
Cut
Principle,
used
similarly
in
Marlos
Third
Phase
of
Nouveau
21-Card
Trick.
What
follows
is
my
take
on
the
effect,
which
focuses
on
making
the
reappearance
of
an
invisible
card
as
magical
and
hands
off
as
possible.
A
similar
approach
was
used
in
Invisible
21
by
Jack
Parker
and
David
Solomon.
Ive
integrated
Nyquists
ribbonspread
hide-out
and
some
other
touches
to
heighten
the
apparitional
appearance
of
the
card.
While
Spectral
is
inspired
by
the
21-card
trick,
it
is
not
presented
as
such.
The
plot
is
focused
on
a
card
that
vanishesand
reappears.
SETUP:
None.
26
READY. SET. GuastaferrO.
To
add
further
smoke
and
mirrors,
guide
your
spectator
through
the
actions
of
the
Jay
Ose
false
table
cut.
Briefly,
have
her
cut
a
third
of
the
cards
to
the
table,
another
third
to
the
right
of
that,
and
the
remaining
cards
to
her
far
right.
Have
her
reassemble
the
packets
from
left
to
right,
placing
the
far
left
packet
onto
the
center
packet,
then
this
combined
packet
onto
the
remaining
packet.
Since
this
is
a
false
cut,
the
order
of
the
cards
is
undisturbed
and
the
selection
remains
in
the
10th
position.
The
Vanish
You
will
now
cause
the
thought
of
card
to
vanish.
Pick
up
the
packet
and
mime
plucking
out
an
invisible
card
and
handing
it
to
your
spectator.
You
will
prove
the
card
is
gone
by
displaying
all
the
cards,
a
few
at
a
time.
Flip
the
top
three
cards
face
up,
spread
them
and
ask
if
selection
is
not
among
them,
then
place
them
underneath
the
packet.
Repeat
this
with
three
more
cards.
For
the
next
three
cards,
flip
them
face
up
as
before,
then
attain
a
break
below
the
next
face-
down
card
(this
is
the
10th
cardthe
selection).
Display
the
three
face-up
cards
in
a
small
fan
as
you
align
the
selection
squarely
under
the
bottom
card
of
the
fan.
Pick
up
the
three
visible
cards
with
the
hidden
selection,
and
place
them
underneath
the
packet.
This
secretly
positions
the
selection
on
the
bottom.
Spread
off
the
remaining
five
cards,
flip
them
face
up
onto
the
packet,
and
again
ask
if
their
card
is
among
them.
The
selection
has
convincingly
vanished,
and
is
now
located
reversed
on
the
bottom
of
the
packet.
This
is
a
good
moment
to
casually
tilt
the
packet
and
glimpse
the
reversed
selection
underneath.
You
can
mime
looking
at
the
spectators
invisible
card
and
naming
it
aloud
as
if
you
can
actually
see
it.
The
Reappearance
You
will
use
Charles
Nyquists
ribbonspread
hide-out
to
make
the
imaginary
card
reappear.
Begin
slowly
dealing
cards
face
up
in
an
overlapping
row
on
the
table.
Ask
the
spectator
to
call
out
stop
at
any
point
she
likes.
Have
her
mime
placing
her
imaginary
card
face
down
onto
the
tabled
spread
at
this
point.
Call
attention
to
the
card
on
the
face
of
the
tabled
row,
stressing
that
she
chose
to
place
her
card
on
top
of
the
(name
card).
Spread
your
held
cards
slightly
and
regrip
the
cards
from
above
in
end
grip
(photo
1).
Use
your
left
fingertips
to
secretly
side-jog
the
bottom
selection
about
an
inch
toward
the
right,
but
still
hidden
beneath
the
spread
(photo
2).
Draw
attention
to
what
appears
to
be
the
bottom
card
of
your
held
packet
(the
leftmost
card
directly
27
READY. SET. GuastaferrO.
above
the
sidejogged
selection).
With
your
cards
still
spread,
carefully
lay
them
onto
the
tabled
row
to
create
one
combined
spread
(photo
3).
Reiterate
that
their
imaginary
card
is
now
between
two
cards
of
their
choosing,
again
drawing
attention
to
the
two
face-up
cards
that
trap
the
imaginary
card.
The
selection
will
remain
hidden
because
it
is
sidejogged.
1 2
3 4
You
will
not
touch
the
cards
from
this
point.
Invite
your
spectator
to
square
the
packet
herself,
but
to
ensure
that
the
selection
is
not
seen
during
these
actions,
instruct
her
to
first
place
each
hand
on
the
outer
ends
of
the
tabled
spread.
Gesture
with
your
own
hands
to
make
this
clear
by
placing
your
hands
on
the
table,
palms
facing
each
other
(photo
4).
Once
the
spectator
is
ready,
have
her
slowly
bring
her
hands
together.
Make
a
magical
gesture
as
if
causing
the
imaginary
card
to
materialize.
Have
the
spectator
re-spread
the
cards
herself
to
discover
that
a
face-down
card
now
appears.
This
is
a
very
powerful
moment!
Also
point
out
that
the
card
is
in
the
exact
position
they
determined,
noting
the
two
face
up
cards
that
surround
the
selection.
Finally,
have
her
turn
the
face-down
card
over
to
reveal
the
selection.
28
READY. SET. GuastaferrO.
NOTES:
The
Automatic
Placement
idea
can
be
found
in
Marlos
Third
Phase
of
Nouveau
21-
Card
Trick
from
Marlo
Without
Tears
(Racherbaumer,
1983).
The
actual
principle
at
work
is
Gene
Finnells
Free
Cut
Principle.
Invisible
21
by
Jack
Parker
with
David
Solomon
can
be
found
in
52
Memories
(Gladwin,
2008).
Jay
Oses
False
Cut
appeared
in
Harry
Lorraynes
Close-Up
Card
Magic
(1962). Paul
Harris
describes
the
idea
of
guiding
the
spectator
through
the
Ose
false
in
The
Art
of
Astonishment
(Harris,
1996)
as
a
Phootnote
to
Chad
Longs
Shuffling
Lesson.
James
Swain
also
shares
the
idea
in
21st
Century
Card
Magic
(Swain,
1999).
Charles
Nyquists
ribbonspread
hide-out
was
published
in
The
Ribbonspread
Reverse
in
Hugards
Magic
Monthly,
vol.
6,
no.
3
(1948).
29
READY. SET. GuastaferrO.
5. Centerfold
EFFECT:
A
card
is
predicted,
then
travels
inside
a
folded
note
card.
This
effect
allows
you
to
deliver
all
the
wallop
of
a
signed
card
to
wallet,
using
nothing
more
than
a
single
note
card.
The
rotating
fold
described
below
makes
it
possible
to
produce
a
flat
physical
object
from
within
an
obviously
empty
space.
SETUP:
Use
a
5x8
unlined
index
card.
Fold
it
in
half
back
and
forth
to
get
a
good
crease
down
the
center.
Write
a
prediction
of
your
force
card
on
both
the
inner
flap
and
under
the
bottom
flap
(photos
1
&
2).
The
audience
will
only
be
aware
of
one
written
prediction.
Fold
the
notecard
with
the
writing
facing
downward,
and
attach
a
paper
clip
(photo
3).
30
READY. SET. GuastaferrO.
OTHER IDEAS:
My
buddy
Raj
Madhok
suggested
some
great
ideas
for
Centerfold:
Instead
of
forcing
a
card,
write
a
prediction
that
simply
says,
Your
Card.
After
the
gag,
you
can
have
the
big
payoff
of
their
card
actually
being
inside.
Use
a
FriXion
pen
to
write
the
original
inside
message.
At
the
end,
you
can
use
a
flame
from
a
lighter
to
create
the
magical
momentand
deviously
cause
this
message
to
vanish,
leaving
the
notecard
clean
and
examinable!
For
a
gift
or
special
event,
use
Centerfold
to
produce
your
business
card,
folded
paper
currency
or
a
gift
card.
These
smaller
items
are
also
easier
to
cop
and
load.
NOTES:
Related
ideas
to
the
rotating
fold
can
be
found
in
John
Carneys
effect
Wired
from
Carneycopia
(Minch,
1991)
and
Jeff
Pierces
effect
Remote
Viewing
from
The
King
Has
Left
The
BuildingWith
Amnesia
(2004).
31
READY. SET. GuastaferrO.
6. Twist of Fate
EFFECT:
Using
three
cards,
the
future
is
predicted,
then
altered.
Specifically,
the
performer
removes
two
random
cards
to
represent
the
future,
and
the
spectator
is
invited
to
place
any
card
face
down
between
them.
Its
pointed
out
that
the
top
card
represents
the
value
and
the
bottom
card
the
suit.
In
this
case,
the
Eight
of
Clubs
and
Jack
of
Hearts
together
represent
the
Eight
of
Hearts.
The
unknown
selection
is
turned
over
and
it
is
in
fact
the
Eight
of
Hearts.
But
thats
just
the
start.
The
selection
is
replaced
between
the
two
fate
cards,
and
the
spectator
is
asked
to
reverse
the
order
of
the
cards
so
the
Jack
of
Hearts
is
on
top
and
the
Eight
of
Clubs
is
on
the
bottom.
The
selection
is
turned
over
to
show
that
it
has
changed
into
the
Jack
of
Clubs,
proving
it
is
possible
to
alter
the
future.
This
effect
is
a
result
of
experimenting
with
the
Kosky
Switch.
Ive
always
found
it
to
be
very
deceptive.
Its
used
here
as
a
force.
Followed
with
a
simple
Top
Change,
and
the
effect
transcends
into
something
more
powerfulnot
just
predicting
ones
fate,
but
altering
it
too.
SETUP:
None.
(However,
for
the
variation
at
the
end,
youll
need
two
Post-it
Notes.)
32
READY. SET. GuastaferrO.
preferably
a
face
card
and
spot
card.
In
our
example,
the
Eight
of
Hearts
is
the
top
card
and
the
Jack
of
Clubs
is
second.
You
will
now
openly
outjog
two
cards
of
fate
based
on
the
identity
of
these
cards.
To
do
this,
mentally
switch
the
suits
around.
So,
you
will
openly
outjog
the
Eight
of
Clubs
and
the
Jack
of
Hearts.
As
you
do
this,
say,
Something
about
you
is
drawing
me
to
the
Eight
of
Clubs
and
Jack
of
Hearts.
Do
these
cards
mean
anything
to
you?
Well,
they
will.
Place
the
pair
face-up
onto
the
face-down
deck
with
the
Jack
of
Hearts
uppermost.
Spread
the
deck
and
have
any
card
removedbut
not
seen.
As
you
re-square
the
deck,
get
a
pinky
break
below
the
third
card.
You
will
now
apparently
place
the
selection
between
the
two
fate
cards.
Pick
up
the
three
cards
above
your
break
in
end
grip
and
peel
the
Jack
onto
the
deck
so
it
is
outjogged;
have
the
selection
placed
onto
the
Jack,
but
perfectly
aligned
with
the
rest
of
the
deck;
then
place
your
double
onto
the
deck
so
it
is
injogged.
This
displays
three
stair-stepped
cards
(an
extra
card
is
hidden
under
the
Eight)
(photo
1).
You
will
now
execute
the
Kosky
Switch:
Simply
push
the
top
double
forward
until
it
is
aligned
with
the
outjogged
card.
Give
them
a
small
fan
so
one
face-down
card
can
clearly
be
seen
two
face-up
cards
(photo
2).
Pinch
the
outjogged
sandwich
and
hand
it
to
your
helper.
You
have
imperceptibly
switched
the
selected
card.
1 2
Explain,
Heres
how
the
two
fate
cards
work.
The
top
card
always
represents
value,
in
this
case,
EIGHT.
And
the
bottom
card
represents
suit,
in
this
case,
HEARTS.
Together,
the
Eight
and
Jack
create
the
Eight
of
Hearts.
As
you
say
this,
take
the
opportunity
to
casually
displace
the
top
card
of
the
deck
(slip
it
to
the
center
or
double
undercut
it
to
the
bottom).
This
prepares
you
for
the
following
phase.
All
attention
is
now
on
the
three
cards
held
by
your
spectator.
33
READY. SET. GuastaferrO.
Slowly
and
fairly
remove
the
center
card
of
the
sandwich,
gripped
in
preparation
for
a
Top
Change.
Hold
it
up
so
everyone
can
see
that
it
is
indeed
the
Eight
of
Hearts.
During
the
reaction,
execute
a
Top
Change,
and
replace
the
card
face
down
between
the
two
face-up
fate
cards.
Altering
the
Future
Say,
While
predicting
our
fate
is
a
very
cool
thing,
what
if
we
could
do
something
even
more
powerful,
like
ALTERING
our
fate?
Instruct
the
spectator
to
place
the
Jack
on
the
top
and
the
Eight
on
the
bottom.
Continue,
By
shifting
your
cards
around,
you
have
completely
altered
your
future!
Remember
how
the
top
card
represents
the
value,
and
the
bottom
card
represents
the
suit.
The
cards
you
hold
now
represent
a
completely
different
cardthe
JACK
of
CLUBS.
Invite
the
spectator
to
remove
the
center
card
to
discover
it
has
changed
into
the
Jack
of
Clubs!
NOTES:
Gerald
Koskys
Kosky
Switch
was
originally
published
in
the
1940s
by
Joe
Berg
as
Koskys
Invisible
Card
Exchange.
It
can
be
found
in
Card
College
4
(2000).
34
READY. SET. GuastaferrO.
CHAPTER 3
Triumphs
Mixing it up with the classic Triumph
35
READY. SET. GuastaferrO.
QUICK TIP
Always
shoot
for
S.T.A.R.
moments
(Something
They'll
Always
Remember),
an
idea
found
in
Nancy
Duartes
book
Resonate.
36
READY. SET. GuastaferrO.
7. Bound to Triumph
EFFECT:
A
topsy-turvy
shuffled
deck
that
is
wrapped
with
a
rubberband
manages
to
unshuffle
itself,
even
while
in
a
spectators
hands.
Ive
loved
the
effect
Bandorama
after
seeing
J.C.
Wagner
do
it
in
the
late
80s.
Since
then,
Ive
always
thought
that
combining
Bandorama
with
Triumph
could
significantly
raise
the
drama
and
impact,
especially
if
done
in
slow
motion.
Here
is
the
result.
SETUP:
Any
deck
and
a
rubberband.
37
READY. SET. GuastaferrO.
under
the
bottom
of
the
deck.
This
adds
a
twist
in
the
band
and
centers
the
selection.
Depending
on
the
size
of
your
rubberband,
you
may
need
to
double
it
over
first.
Invite
your
spectator
to
cover
the
deck
with
two
hands.
Now,
rather
than
have
her
lift
her
hands
immediately
for
quick
revelation,
you
will
instruct
her
to
slowly
release
pressure.
As
she
does
this,
ask
this
important
question:
Do
you
feel
the
cards
moving?
She
will
have
no
choice
but
to
say
yes.
If
the
cards
are
not
moving,
have
her
release
a
little
more
pressure.
The
key
is
to
let
this
happen
slowly.
There
is
a
dual
reality
going
on
when
you
ask
the
spectator
if
they
feel
the
cards
moving.
Even
though
she
only
feels
the
top
half
turning,
in
the
minds
of
the
rest
of
the
audience,
the
cards
could
be
flipping
or
changing
position.
So,
play
this
up
and
remind
everyone
that
she
feels
the
cards
moving
under
her
hands.
The
key
is
to
have
the
rest
of
the
audience
believe
more
is
going
on.
The
payoff
at
the
end
with
the
cards
righting
themselves
will
heighten
the
premise
that
the
cards
have
indeed
unshuffled
themselves.
Continue
having
your
spectator
release
pressure
until
the
deck
and
rubberband
have
untwisted.
The
selection
will
now
be
protruding
from
the
center
of
the
encircled
deck.
This
is
always
a
powerful
moment.
For
the
kicker,
remove
the
rubberband
and
show
that
the
deck
has
straightened
itself
out
while
under
the
spectators
hands!
NOTES:
Dai
Vernons
Triumph
can
be
found
in
Stars
of
Magic
(Series
2,
No.
1,
1948).
Sid
Lorraines
Slop
Shuffle
was
published
in
Subtle
Problems
You
Will
Do
(1937)
and
can
also
be
found
in
Royal
Road
to
Card
Magic
(1948).
Bandorama
appeared
in
The
Commercial
Magic
of
J.C.
Wagner
(Maxwell,
1987).
38
READY. SET. GuastaferrO.
8. Untouchable
EFFECT:
The
audience
openly
shuffles
and
cuts
the
deck
with
a
mixture
of
cards
face
up
and
face
down.
Without
intervention
from
the
performer,
the
cards
straighten
themselves.
This
version
of
Triumph
has
a
hands
off
premise
that
gives
you
the
freedom
to
step
away
from
the
deck
and
invite
audience
members
to
cut
and
turn
cards
upside
down.
This
Triumph
effect
works
especially
well
in
parlour
settings.
Those
familiar
with
my
effect
Behind-the-Back
Triumph
from
One
Degree
will
notice
a
similarity
in
handling.
This
effect
was
developed
in
partnership
with
Michael
Vincent,
utilizing
his
wonderful
observation
that
the
position
of
the
cards
in
Behind-the-Back
Triumph
lends
itself
naturally
to
the
Jennings/Goodwin
display.
In
addition
to
a
simple
handling
I
developed
to
get
into
the
Jennings/Goodwin
Display,
I
think
you
will
enjoy
the
devious
approach
of
having
your
audience
actually
do
a
Half
Pass
for
you.
SETUP:
None.
39
READY. SET. GuastaferrO.
Fairly
turn
her
half
face
up
and
let
it
fall
onto
your
half
momentarily.
Immediately
shift
her
half
forward
as
you
take
the
card
above
your
break
with
it
(photo
1).
Take
the
top
half
into
the
left
hand
and
the
bottom
half
into
the
right
hand
as
if
to
Faro
shuffle.
Begin
weaving
he
halves
together
(this
does
not
need
to
be
a
perfect
Faro)
so
the
top
face-down
card
of
the
right
half
remains
on
top.
Once
the
cards
are
weaved
about
half
way,
openly
riffle
the
outjogged
packet
to
display
face-up
cards
(photo
2).
Turn
the
telescoped
deck
over
end
for
end.
Again
riffle
the
outjogged
packet,
this
time
showing
face-down
cards.
This
is
the
brilliant
Jennings/Goodwin
Display
at
work.
We
will
now
involve
the
audience
to
further
mix
the
cards.
1 2
Place
the
telescoped
deck
on
the
table
and
slowly
square
the
deck
to
reinforce
the
topsy-turvy
nature
of
the
deck
(you
can
also
have
an
audience
member
do
this
for
you).
Position
check:
face-up
card
on
top,
followed
by
the
face-down
deck,
with
the
face-up
selection
on
the
bottom.
You
now
have
the
freedom
to
stand
back
and
get
the
audience
involved.
You
will
have
several
spectators
cut
and
turn
over
cards
in
an
action
similar
to
the
Balducci
(Cut
Deeper)
force:
1)
Invite
an
audience
member
to
cut
off
a
small
packet,
turn
it
over
and
place
it
back
on
top
of
the
deck;
2)
Invite
a
second
person
to
follow
similar
actions,
this
time
cutting
off
about
half
the
deck,
turning
it
over
and
placing
it
back
on
top;
3)
Invite
a
third
person
to
cut
off
a
lot
of
cards,
but
not
all
of
them,
turn
them
over
and
place
them
back
on
top.
Throughout
this
process,
be
sure
to
highlight
that
they
are
turning
cards
upside
down.
Since
you
are
standing
aside
and
giving
them
control,
it
really
sells
the
apparent
haphazard
condition
of
the
cards.
Despite
the
numerous
times
theyve
turned
cards
over,
the
relative
position
of
the
cards
remains
unchanged.
You
will
always
have
a
face-up
bank
of
cards,
followed
by
a
face-down
bank,
with
the
selection
face
up
on
the
bottom.
40
READY. SET. GuastaferrO.
NOTES:
The
Goodwin/Jennings
Display
originally
appeared
in
the
effect
New
Outstanding
Triumph
from
Up
in
Smoke
and
Other
Tantalizing
Mysteries
(Parker,
1990).
It
can
also
be
found
in
John
Bannons
Dear
Mr.
Fantasy
(2004).
Ed
Balduccis
Cut
Deeper
Force
(The
Balducci
Cut)
is
described
in
Hugards
Magic
Monthly,
Vol.
14,
No.
6
(November
1956)
under
the
trick
The
All
Fair
Coincidence
by
Ed
Balducci
and
Ken
Krenzel.
41
READY. SET. GuastaferrO.
Steve
Reynolds
applied
the
Balducci
Cut
in
Spectator
Triumphs
in
his
S.R.O.
lecture
notes
(2007)
and
in
his
one-man
parade
in
The
Linking
Ring
(May
2007).
More
thoughts
on
the
Spectator
Half
Pass
Its
possible
to
execute
the
Spectator
Half
Pass
without
any
intervention
from
you
at
all.
Its
not
sure
fire,
but
youll
have
a
backup
plan
to
ensure
the
right
outcome.
Lets
fast-forward
to
the
point
in
the
routine
when
you
are
ready
for
the
Spectator
Half
Pass.
Position
check:
Top
half
face
up,
bottom
half
face
down,
and
the
selection
face
up
on
the
bottom.
Do
not
divide
the
deck
into
two
piles
as
described
in
the
routine.
Instead,
ask
a
spectator
to
cut
off
about
half
the
deck,
turn
it
over
and
place
it
next
to
the
other
pile
(be
sure
its
next
tonot
on
top
of
the
other
pile).
Due
to
the
natural
break
near
the
center,
there
is
a
chance
the
spectator
will
cut
at
this
exact
position
for
you.
You
will
know
if
they
cut
at
the
natural
break
if
there
is
a
face-down
card
on
the
bottom
half
and
a
face-down
card
on
the
newly
turned
over
packet.
If
they
do
hit
the
natural
break,
simply
instruct
the
spectator
to
place
the
original
bottom
half
onto
the
newly
turned
over
packet
(without
turning
it
over).
The
deck
can
now
be
spread
to
show
all
the
cards
facing
the
same
way,
except
for
the
selection!
So,
what
happens
if
the
spectator
does
not
cut
at
the
natural
break?
After
theyve
turned
over
the
top
half,
immediately
have
them
pick
up
the
remaining
cards,
turn
them
over
too,
and
place
them
onto
the
previously
turned
packet.
This
sequence
actually
does
nothing
to
disturb
the
order
of
the
deckit
merely
results
in
the
entire
deck
being
turned
over
(the
selection
is
now
face
down
on
top).
From
this
point,
you
will
execute
the
Spectator
Half
Pass
as
described
in
the
main
routine
by
dividing
the
deck
into
two
piles
at
the
natural
break
yourself,
then
asking
a
spectator
to
turn
over
either
half.
Your
outcome
will
still
be
the
same,
and
youve
lost
nothing
in
the
routine
by
doing
it
this
way.
42
READY. SET. GuastaferrO.
CHAPTER 4
Multitudes
Effects with more than one selection
43
READY. SET. GuastaferrO.
QUICK TIP
We
all
get
nerves
from
time
to
time.
The
key
is
to
accept
that
you
have
butterflies;
just
get
them
to
fly
in
formation.
44
READY. SET. GuastaferrO.
SETUP:
None.
45
READY. SET. GuastaferrO.
46
READY. SET. GuastaferrO.
thumb
and
fingertips,
then
knock
the
deck
out
of
the
hands.
This
classic
stunt
will
leave
the
selection
in
her
fingertips.
4 5
TRANSPOSITION VARIATION
Heres
a
very
effective
transposition.
After
producing
the
first
card,
casually
place
the
box
on
top
of
it
in
your
hand.
Unload
the
other
card,
and
take
the
two
cards
as
one
into
the
left
hand
as
your
right
hand
displays
the
empty
box.
Hold
the
box
from
above
in
end
grip.
Use
the
right
fingertip
to
push
the
top
card
of
the
double
forward
(photo
5).
This
action
also
aligns
the
box
on
top
of
the
first
selection.
Place
the
protruding
card
inside
the
box,
miscalling
it
as
the
first
selection.
To
find
the
second
selection,
have
someone
cut
the
deck
face
up
into
two
tabled
packets.
Place
the
box
(with
the
second
selection
hidden
underneath)
onto
either
half
of
the
deck,
then
place
the
other
packet
on
top
of
the
box.
You
will
now
do
a
stunt
I
learned
from
Aldo
Colombini.
With
the
box
sandwiched
in
the
center
of
the
deck,
give
it
a
sharp
flick
with
your
finger.
Done
with
the
right
pressure,
the
box
will
fly
free
from
the
deck,
leaving
the
rest
of
the
cards
intact
(akin
to
whisking
away
a
tablecloth).
Spread
the
deck
face
up
to
show
a
reversed
card
in
the
centerapparently
the
outside
the
box
selection.
Turn
it
over
the
show
it
is
actually
the
first
selection,
having
apparently
escaped
from
the
box.
Mention
that
outside
the
box
people
often
do
unexpected
things,
and
invite
someone
to
open
the
box
to
find
that
the
second
selection
has
surprisingly
flown
inside.
NOTES:
The
Marlo-Schulien
Cardcase
Load
can
be
found
in
The
Complete
Works
of
Derek
Dingle
(1982)
and
Giobbis
Card
College,
Volume
5
(2003).
47
READY. SET. GuastaferrO.
SETUP:
None.
48
READY. SET. GuastaferrO.
to
the
outside
of
your
pocket!
This
is
a
great
moment.
You
are
also
far
ahead
for
the
next
two
revelations
since
both
remaining
selections
are
in
your
pocket.
Second
Card
Ask
an
audience
member
to
shuffle
the
deck.
Say,
I
will
find
the
next
card
in
the
opposite
wayby
making
it
melt
into
my
pocket.
Whose
card
shall
we
use?
Ask
which
card
theyd
like
to
use
(it
doesnt
matter
since
both
are
in
your
pocket).
Suppose
the
third
spectator
would
like
you
to
find
her
card
(the
Three).
Take
the
shuffled
deck
and
do
a
fancy
cut
as
if
finding
the
card.
Hold
the
deck
near
the
outside
of
your
pocket
and
do
a
Rub-a-Dub
vanish
of
the
top
face-down
card.
Reach
in
and
remove
the
corresponding
cardin
this
case,
the
top
card
of
the
pocketed
pair
(the
Three).
Third
Card
Have
the
deck
shuffled
again.
Say,
To
find
the
final
card,
we
will
use
the
penetrating
power
of
the
mind.
Ill
use
the
pocket
as
a
blindfold,
and
with
no
sleight
of
hand,
I
will
find
the
card
you
are
thinking
of.
Its
all
about
mind
over
matter.
Take
the
shuffled
deck
and
fairly
place
it
in
your
pocket
under
the
remaining
selection.
Sure,
you
could
simply
reach
in
and
merely
pluck
the
selection
out,
but
I
prefer
the
following
approach
much
better.
Reach
into
your
pocket,
claiming
the
power
of
your
mind
will
help
you
locate
the
card.
Stare
intently
at
the
spectator
throughout,
as
if
reading
her
mind.
With
the
hand
in
your
pocket,
place
the
selection
into
the
center
of
the
deck,
but
leave
it
protruding.
Remove
the
entire
deck
with
the
outjogged
card,
back
toward
the
audience.
Theres
something
about
this
picture
that
reinforces
that
you
really
did
extract
a
card
from
the
center
of
the
shuffled
deck.
For
the
first
time,
ask
for
the
name
of
the
card.
Let
the
tension
build,
then
reveal
the
card.
NOTES:
Do
no
underestimate
the
impact
of
the
third
revelation.
While
not
quite
a
visual
moment
like
the
previous
two
revelations,
it
usually
gets
the
most
powerful
reactions.
The
mind
over
matter
premise
is
strong
and
relatable.
Play
it
up.
49
READY. SET. GuastaferrO.
50
READY. SET. GuastaferrO.
C H A P TE R 5
Four-Closures
Powerful closing effects with a four-of-a-kind
51
READY. SET. GuastaferrO.
QUICK TIP
If
you
were
to
eavesdrop
on
your
audience
after
a
show,
what
would
they
be
saying?
Now,
what
would
you
WANT
to
hear?
If
they
are
the
same,
your
vision
is
on
track.
If
not,
take
the
time
to
retrace
your
steps
and
tweak
your
strategies
to
ensure
that
your
actions
are
aligned
with
your
desired
outcome.
52
READY. SET. GuastaferrO.
SETUP:
None.
53
READY. SET. GuastaferrO.
You
will
now
use
a
sequence
based
on
Daryls
Rising
Crime
Display
to
apparently
place
a
Jack
into
four
different
packets.
During
this
process,
two
Jacks
will
masquerade
as
four.
First
Jack
With
the
packet
held
in
end
grip,
take
the
bottom
card
into
the
left
hand,
then
peel
the
top
two
cards
onto
it
in
a
spread
fashion.
Lay
the
remaining
double
on
the
right
side
of
the
spread
to
show
what
appears
to
be
four
single
face-down
cards.
Turn
your
right
hand
palm
down
and
pinch
the
right
edge
of
the
double
(photo
1).
Rotate
your
right
hand
palm
up
to
display
the
Jack.
As
your
left
hand
squares
its
three
cards,
lever
the
double
face
down
onto
them.
Immediately
take
the
top
card
into
the
right
hand.
You
will
insert
this
card
half
way
into
the
packet
held
by
the
spectator
on
your
far
left.
But
first,
here
is
a
nice
subtlety:
Turn
your
left
hand
palm
down
and
use
your
thumb
to
lift
up
on
the
front
edge
of
the
spectators
packet
(photo
2).
This
subtlety
shows
the
other
Jack
on
the
face
of
your
packet
(and
also
conditions
the
audience
for
a
move
coming
later
in
the
effect).
Your
right
hand
places
its
card
half
way
into
the
spectators
packet.
1
2
Second
Jack
Similar
to
the
above
actions,
peel
two
cards
into
the
left
hand
and
lay
the
remaining
double
right-jogged
on
top.
Pinch
the
edge
of
the
double
with
your
right
hand
and
turn
it
face
up
to
show
another
Jack.
Turn
the
double
face
down
and
insert
a
single
card
half
way
in
the
second
persons
packet,
using
the
same
actions
described
earlier.
Third
Jack
Turn
the
remaining
three
cards
face
up
and
hold
them
square.
Your
palm
up
right
hand
pinches
the
cards
along
the
right
edge.
With
your
right
thumb,
push
the
top
two
cards
squarely
toward
the
left.
Pinch
this
double
in
the
left
fingertips.
Separate
the
54
READY. SET. GuastaferrO.
hands
slightly
so
each
displays
a
Jack.
Flick
the
cards
up
and
down
against
each
other
a
few
times.
This
Paul
Harris
subtlety
emphasizes
the
singularity
of
the
cards
and
keeps
the
cards
in
motion.
Place
the
right
hands
card
on
top
of
the
double
and
turn
the
block
face
down.
Take
the
top
single
card
into
the
right
hand
and
insert
it
half
way
into
the
third
persons
packet,
using
the
same
actions
described
earlier.
Fourth
Jack
Flash
the
remaining
double.
Now
is
where
the
previous
action
of
using
your
left
hand
really
comes
into
play.
Turn
your
empty
left
hand
palm
down
and
use
your
thumb
to
lift
up
exactly
two
cards
off
the
original
top
section
of
the
deck.
Insert
the
right
hands
double
half
way
into
the
opening.
This
double
must
stay
protruding
as
a
single
card,
so
be
sure
to
push
it
in
deep
enough
to
stay
tightly
squared.
The
four
spectators
apparently
have
a
Jack
protruding
each
of
their
packets.
Ask
them
to
push
the
Jacks
flush.
Not
only
does
this
get
your
audience
involved,
it
highlights
the
belief
that
the
Jacks
are
lost
and
separated
in
four
different
packets.
In
reality,
all
four
Jacks
are
together
on
the
original
top
section
of
the
deck.
Assembly
Line
To
cause
the
Jacks
to
assemble
on
your
target
pile
(the
original
top
of
the
deck),
guide
your
spectators
to
mime
removing
an
invisible
Jack
from
their
respective
packets.
Continue
this
imaginary
hook
to
mime
bringing
two
Jacks
together
on
the
target
pile,
followed
by
the
third,
then
the
fourth
Jack.
Its
all
presentation,
so
have
fun
with
it.
If
you
are
familiar
Dean
Dills
equivoque
procedure,
it
works
great
here.
Say,
In
our
imaginations,
youve
placed
all
the
Jacks
together,
but
of
course
we
know
this
is
impossible.
Or
is
it?
Somehow
youve
turned
the
impossible
into
reality!
Have
the
person
holding
the
original
top
section
turn
over
the
top
four
cards
to
show
that
all
four
Jacks
have
come
together.
There
is
usually
heat
on
the
rest
of
the
cards,
with
the
assumption
that
extra
Jacks
must
be
in
play.
Of
course
you
have
nothing
to
hide,
so
invite
your
audience
to
examine
the
cards.
55
READY. SET. GuastaferrO.
NOTES:
Daryls
Rising
Crime
Display
can
be
found
in
For
Your
Entertainment
Pleasure
(Minch,
1982).
Dean
Dills
equivoque
procedure
to
verbally
guide
the
audience
to
bring
four
cards
together
can
be
found
in
Bob
Kohlers
marketed
trick
Aces
In
Their
Faces
and
Aaron
Fisher's
Ace
Odyssey
from
The
Paper
Engine
(2001).
To
add
some
fun
to
the
effect,
you
can
ask
the
four
spectators
to
literally
do
a
few
jumping
jacks
before
the
final
the
assembly
of
the
Jacks.
Its
an
amusing
way
to
cause
the
Jacks
to
assemble
(jump)
on
one
packet.
56
READY. SET. GuastaferrO.
SETUP:
It
helps
if
both
you
and
an
audience
member
are
wearing
a
jacket
with
an
accessible
pocket.
57
READY. SET. GuastaferrO.
Leave
one
Ace
behind
and
come
out
with
the
other
palmed
Ace.
Have
him
hold
onto
it.
Say,
Ah
ha,
I
knew
there
was
a
pickpocket
around
here.
I
didnt
even
see
you
steal
that
Ace.
Second
Ace
Say,
Not
only
did
you
pickpocket
the
first
Ace,
youre
trying
to
frame
me
for
it.
Somehow,
you
planted
the
second
Ace
in
MY
pocket.
In
the
act
of
squaring
up
the
deck,
position
the
entire
deck
into
Gamblers
Cop
position.
Your
right
hand
brings
the
top
card
forward
in
a
deep
overhand
grip
as
if
it
is
holding
the
entire
deck.
Gamblers
Cop
the
rest
of
the
deck
and
dip
your
left
hand
to
your
coat
pocket;
leave
the
deck
behind
and
come
out
with
the
bottom
cardthe
second
Ace.
Hand
this
to
your
spectator.
Third
Ace
Transfer
the
right
hands
card
to
the
left
hand
and
take
it
in
a
deep
dealers
grip,
as
if
you
are
still
holding
the
entire
deck.
Act
as
if
you
are
weighing
the
deck
again,
and
say,
Yep,
it
feels
like
another
Ace
is
missing,
and
we
all
know
whos
responsible
for
taking
it.
Go
ahead,
reach
in
your
pocket
and
show
us
whats
inside.
During
this
time,
continue
holding
your
one
card
as
if
it
is
the
entire
deck.
Fourth
Ace
You
will
now
cause
the
deck
to
vanish
using
an
Alfonso/Kosby
idea
from
The
Vanishing
Traveler.
Say,
Even
bigger
than
the
mystery
of
how
you
stole
the
Aces
is
what
you
did
with
the
rest
of
the
deck!
Cup
your
right
hand
over
the
left
hands
card
and
slowly
push
down
until
your
hands
are
flat
against
each
other.
Show
that
the
entire
deck
has
vanished
with
the
exception
of
the
last
Ace.
NOTES:
The
Vanishing
Traveler
is
credited
to
Alfonso
and
Ray
Kosby,
and
appeared
in
the
Magical
Arts
Journal
(Volume
1,
Nos.
11
&
12,
June
&
July
1987).
58
READY. SET. GuastaferrO.
Its
not
the
magic
that
makes
it
work.
Its
the
way
we
work
that
makes
it
magic.
Former
Walt
Disney
World
Executive
Vice
President
Lee
Cockerell
59
READY. SET. GuastaferrO.
www.MagicJohnG.com
60