HANDS OFF MY NOTES

A collection of nearly self-working card effects

done in the participant’s hands

JOHN GUASTAFERRO
 HANDS OFF MY NOTES
A collection of nearly self-working card effects
all done in the participant’s hands

BY JOHN GUASTAFERRO

1. ALL THREE KINGS

2. HANDS OFF ACES

3. TWENTY

4. HEADS WILL ROLL

5. HIGH CARD

6. TIME WILL TELL

7. MAVERICK

8. COUNTERPOINT

9. YOUR TURN TO TRIUMPH

10. GEMINI SQUARED

© Copyright 2015 | John Guastaferro | www.MagicJohnG.com

All rights reserved. No part of this publication may be reproduced or transmitted in any form or
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2    
INTRODUCTION
Time flies. It’s hard to believe that it’s been over 12
years since the release of my Brainstorm DVDs (2003);
and over five years since One Degree (2010). And
during all this time, one thing I’ve learned is that I never stop learning. None of
us do. The key is to remain curious. For me, this has meant asking infinite
questions; exploring ideas that may lead to nowhere; immersing myself in
books, old and new; surrounding myself with peers whose perspective and
analysis I value; and finding creative outlets beyond magic. It is my relentless
curiosity that has led me to create the effects in these notes.

My goal with Hands Off My Notes was to put the power of the magic in the
participants’ hands—letting them play a key role in both the process and the
outcome. It has been a stimulating journey involving weaving original ideas and
old principles, all in the name of creating magic that your audience can see and
feel. Don’t get me wrong, I have plenty of other material that embraces sleight
of hand, but for purposes of these notes, I present you with a collection of ten
card effects that take place predominately in the participants’ hands.

You’ll learn a range of effects, including: a fun spelling effect; a mental effect
with a time-of-day kicker; several gambling-themed routines; Ace productions; a
deviously simple mental effect with four cards; a Triumph effect perfect for
parlour; a prediction effect with imaginary dice; and a hands-off approach to my
favorite closer. One thing they all share in common is that they are
predominantly “hands off.” I say “predominantly” since there are some effects
that require minimal handling. These brief “hands on” moments allow you to
present the effects from a shuffled deck and get any necessary cards into play.
Most items are impromptu and can be performed using a borrowed deck.

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By the way, just because an effect is “hands off” does not mean it is easy to pull
off. Producing extraordinary moments involves creating audience connection,
dialogue, genuine interest, and many other important factors. While the props
are hands off, creating a joyful experience is very “hands on.”

Thank you for your interest in these notes. Have fun exploring and remaining
curious. Go grab a deck of cards. The rest is in your hands—and in the hands of
your audience!

4    
ALL THREE KINGS
EFFECT
After the participant removes any card, he is able to find
the three mates by spelling words in a Google search.

This spelling effect is based on a Cameron Francis effect called “Find Every
Ace.” My additions make it completely hands-off and provide the fun
presentational hook of a Google search. As far as spelling tricks go, it doesn’t
feel tedious or repetitive. It’s a fun effect that takes place completely in the
participant’s hands.

SETUP
Arrange four Kings on top of the deck. These can be preset or culled during
performance. Also ensure that there are no Aces near the top or bottom of the
deck (cannot be within eight cards below the Kings or eight cards from the face).

METHOD
With the Kings on top, hold the deck face up. Overhand shuffle eight cards from
the face to the back of the deck. The Kings are now in positions 9, 10, 11, 12.

Hand the deck to your participant. It’s hands off from here. Ask her to deal four
poker hands—four piles of five cards each. Unknown to anyone else, a King is
now at the center of every pile.

Have the participant shuffle the remaining portion of the deck and set it aside.
The shuffling is just a throw-off and has no impact on the outcome. Moments of
freedom like this are engaging and help shroud the method.

Next, have him pick up any pile and shuffle it (another moment of freedom that
will not impact the outcome). You will now do a devious mental force attributed
to. J.K. Hartman. Ask him to look through his cards and just think of the highest
card he sees, then set it on the table face down. I make this ruse seem off the
cuff by saying, “Gaze at all the cards and just THINK of one...make it the highest
card you see so it’s easy to remember. Keep it in your mind and don’t tell
anyone. Remove the card and place it aside so no one can see it.”

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After your participant places his “thought of” card on the table, have him drop
the remaining four cards onto the deck. Have him assemble the three tabled
piles on top of one another in any order, then place this combined pile onto the
deck.

You will now guide him through Jay Ose’s Triple False Cut as follows: 1) Have
him cut a third of the deck to the table, another third to the right of that, then
the balance to the right of that; 2) have him pick up the first pile, drop it on top
of the center, then place all of these cards onto the remaining pile. The deck is
back in the same order. During this cutting procedure, I usually say, “Please cut
the deck into three piles. Do you know where the three mates of your card are?
Of course not. They could be in any of these piles. Please reassemble the cards
by placing the far left pile onto the center, then all of these cards on top of the
last pile.”

Continue, “Believe it or not, YOU are going to find the three mates of the card
you are merely thinking of. In order to do this, you’ll search for them the way
you’d search for almost anything these days…doing a Google search. You’ll use
the deck to spell out some search terms.” Ask him to pick up the deck and spell
the following three words, one card for each letter, forming three small piles:
ALL…THREE…(KINGS). Actually, you don’t say the word ‘Kings.’ Instead, say,
“For the third word, spell the value of your card, like the Twos or Eights or
Queens.” Make sure it is plural. If you notice he spells only four cards, ask if the
word had an “s” on it.

Say, “For the first time, what card are you thinking of?” Have him turn over the
selected card that he placed aside earlier. Act surprised as if it could have been
any card. All that remains is to turn over the top card of each pile to show the
three Kings. As I do this, I like to punctuate each turn of the cards as I say,
“All…Three…Kings!”

NOTES
While likely done prior to 1973, the first time I’ve noted the high-card mental
force was in J.K. Hartman’s effect “Hope for the Best” (Means & Ends, 1973).

Ose’s False Cut appeared in Close-Up Card Magic (Lorayne, 1962). The idea of
guiding the participant through the cut is in Art of Astonishment, Book 3 (1996)
in a “Phoot Note” by Paul Harris to Chad Long’s “Shuffling Lesson.”

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HANDS OFF ACES
EFFECT
Two participants thoroughly cut and shuffle the deck,
and together, they find the four Aces.

This effect utilizes a deceiving hands-off shuffle sequence from Ben Earl and an
Ace cutting ruse attributed to Father Cyprian, which allows two participants to
find the Aces in a nearly hands off manner. I’ve also included an alternative
ending that makes the routine completely hands off. For such a simple effect,
it’s caught they eye of many magicians. It is one of my favorite ways to produce
four Aces.

SETUP
Start with four Aces on top of the deck.

METHOD
In an overhand shuffle action, slip two Aces to the center and hold a break
above them. Spread to your break and give the halves to two participants. They
will unknowingly have two Aces on top of their packets. It will be nearly hands
off from here.

You’ll now use Ben Earl’s “Spectator’s Shuffle Holdout,” but with both
participants executing the sequence with their respective packets. This allows
the cards to be shuffled and exchanged without disturbing the Aces. With the
cards face down:
1. Have each participant spread off a small group of cards;
2. Have them place these cards in a face-up pile onto the table;
3. Have them mix the remaining cards they hold;
4. Repeat the above steps by having them spread a few more cards, place
them face up onto their tabled portions, mix the remaining cards, and
continue until there are no cards left. There will be two face-up piles on the
table. I like to invite them to swap packets as much as they’d like during the
procedure. As they do this, say, “By cutting, turning and mixing in this way,
everyone can see the cards are thoroughly mixed.”

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Have each participant pick up his “mixed” pile and hold it face down. Finally,
have each participant cut his packet into two piles onto the table. Keep track of
the original top section of each packet. Try to guide this procedure so the
packets are in a square configuration (not in a row) with the Ace piles in
opposite corners. There are now four face-down piles on the table, two of which
have two Aces on top.

Aces Revealed - Execute the Cyprian turnover swindle as follows: 1) Both of

your hands approach the Ace target piles and simultaneously pick up the top
card of each; 2) snap these cards face up and replace them onto the other
packets; 3) after an ever so brief pause, snap the remaining two Aces face up
and replace them onto to the face-down packets of the opposite corner.

Four Aces will show, and they can take all the credit!

Completely Hands Off Alternative - Instead of the Cyprian move, here is a

completely hands-off alternative. After the shuffle sequence and as the
participants each hold a face-down packet, have them each deal two piles and
stop whenever they’d like. For the big ending, have them turn the entire packets
face up. There will be an Ace at the face of each.

NOTES
The “Spectator’s Shuffle Holdout” was published in Ben Earl’s Gambit, Issue 2
(2010). My small additions are to have the participants spread cards instead of
cut (easier to place the cards face up on the table) and to involve two people,
which allows the option to exchange cards during the shuffle.

The Ace cutting ruse by Father Cyprian appeared in The Elegant Card Magic of
Father Cyprian (Garcia, 1980). Cyprian credits Joe Destephano for coming up
with idea. However, in Talon #2 (1978), Al Smith published “Cross-Over Aces,”
which predates the idea. Some consider Bob Veeser’s “Subtlety for Spectator
Cuts to the Aces” from Faro Controlled Miracles (Marlo, 1964) a precursor, but it
is a distant one at that since the actions are much different.

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   TWENTY
EFFECT
The performer predicts that the participant will deal
himself exactly 20 in blackjack and a straight in poker.

This routine weaves several elements: blackjack, poker, audience involvement

and commercial appeal. The idea was sparked by Howard Hamburg's “Hidden
Prediction,” which utilizes the Gilbreath Principle to cause seemingly random
cards to add to a predetermined total. I built a gambling presentation around
the fact that a 2-6 straight in poker also makes a great blackjack hand—twenty!

SETUP
Arrange two sets of 2-6 on top of the deck.
They do not need to be in numerical order;
just the same order. Place the Ace of Spades
directly between this setup. Finally, write
“STRAIGHT” on the back of a $20 bill.

METHOD
Place the $20 bill on the table (writing side down). Say, “We all have lucky
numbers. Today, the number ‘twenty’ feels lucky. I even have $20 riding on how
well you’ll do in a game of blackjack and poker. First, let’s give the deck a mix.”
Give the bottom half of the deck to your participant. You’ll now do another
variation of the Ben Earl’s Spectator’s Shuffle Holdout, described in “Hands Off
Aces” (page 7). Here, both you and the participant will alternate intermixing
your packets. Spread off at least 11 cards and flip them face up onto the table.
Invite your participant to do the same thing by flipping some cards face up
directly onto your pile. Continue alternating in this fashion until the entire deck
is face up on the table. You can each shuffle and exchange your packets during
this process. The setup stays intact. You will not touch the cards from this point.

Say, “Somewhere in this shuffled deck is a lucky card.” Instruct your participant
to pick up the deck, turn it face down and cut it into two piles. Hover your hand
over each pile as if sensing where a lucky card might be. Ask him to pick up the
original top half as you say, “I have a feeling there’s a lucky card somewhere in

9    
this pile.” Instruct him to deal slowly onto the table. Stop him on the sixth card
and say, “I have a good feeling about this card. Please deal it onto the $20 bill
for later.” Have him pick up the dealt cards and place them onto the tabled half,
then place the cards he holds next to the tabled pile. The above actions set the
two halves for the Gilbreath Principle (a mirrored 2-6 stack on each half). Instruct
him to riffle shuffle the two halves together. This will always bring a 2, 3, 4, 5, 6
to the top (the order will vary).

Blackjack Phase - Say, “Since twenty is my lucky number, I have a feeling you’ll
deal yourself twenty in blackjack without busting.” Invite another participant to
play the role of dealer and to deal a two-card hand of blackjack. Have your
participant look at the cards without showing anyone. Advise him to keep hitting
and adding up the cards as he does. After he has four cards, ask what card he
needs to form a twenty. Have him hit one more time. Say, “You got exactly
twenty! And you got five cards without busting. That’s a ‘Five Card Charlie’ and
it only happens about 1 out of 50 times.” Turn over the lucky card placed next
to the bill earlier and say, “Remember the lucky card we placed aside earlier?
It’s an Ace! That gives you 21! There’s only a 1 in 400 chance of getting six
cards without busting. That’s called a ‘Six Card (participant's name).’”

Poker Phase - Turn the topic to poker.

Ask your participant to gather his five
dealt cards and fan them in front of him.
Say, “Look through your cards and form
the best poker hand you can. Do you have
a three of a kind? A pair? Hmm, what’s
your hand?” After he shows a straight,
draw attention to the $20 bill. Say, “I had
$20 riding on your game the entire time.
Not only did I predict you’d get a twenty in blackjack, I predicted you’d deal
yourself a straight.” Turn the bill over to show the written prediction, “Straight.”
Say, “Luck must really be on your side. The odds of being dealt a straight with
the first five cards is 1 in 72,000.”

NOTES
Howard Hamburg’s “Hidden Prediction” first appeared in The ‘D’ Notes (2009),
then in his Sessions DVD (2011). Norman Gilbreath published the Gilbreath
Principle in The Linking Ring, Vol. 38 No. 5, (July 1958).

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HEADS WILL ROLL
EFFECT
After a mental roll of the dice, the participant
mixes four cards and turns one upside down at random. With his money on the
line, the performer correctly predicts the card.

This is one of two effects in these notes that involve “mixing” four cards
according to a secret number. Here, a ranging force is used. Inspired by Ben
Harris’ “Ionic Force,” which uses fingers to force an odd sum, I framed the force
around a pair of imaginary dice to accomplish the same thing. The “Dionic
Force,” as I call it, feels more random, natural and cerebral. Plus, the use of
cards and imaginary dice delivers an engaging “casino” vibe. My dialogue with
Stephen Hobbs was instrumental in this creative exploration. We exchanged
countless emails examining how we could maximize the use of four cards using
simple math and subtle methods.

SETUP
All you need for this effect are four cards, such as Aces. I also like to have a bill
handy, preferably the $20 bill used in “Twenty” (page 9).

METHOD
Ask your participant to remove any four cards from the deck or just use four
Aces from a previous effect. Four Aces fit the gambling theme nicely. He can
mix these as much as he likes. Say, “In addition to these cards, I have an
imaginary pair of dice. Go ahead and give them a roll in your mind. Watch the
dice roll across the table, and as they stop, you see two completely different
numbers—one odd and one even. Please add the dice together. This will be
your secret number. Keep it in your mind and don’t tell anyone.” Follow the
above script accordingly. The result will always be an odd number. This is
because any odd number plus an even number will equal an odd sum.

Pick up the Aces in a face-down fan. Casually display them to your audience as
you tilt them back just enough to catch a glimpse of the second card down (let’s
say it’s the Ace of Spades). Remember this card. Invite your participant to hold
the Aces face down under the table. Say, “You’re going to mix the cards under

11  
 
the table according to your secret number—the total of the two dice you rolled
in you mind. Got it?” Have the participant transfer cards singly from the top to
the bottom equal to his secret number. Once this is done, have him repeat the
process one more time. I justify counting for a second time by saying, “Now
imagine that you roll the dice again, and the SAME numbers come up. Just like
before, count your secret number again from top to bottom.”

Here’s the great part. Any odd number counted twice will bring the target card,
which started second from the top, to the bottom of the packet. This will always
happen. In this case, the glimpsed Ace of Spades is now on the bottom.

With the cards still under the table, ask your participant to turn the bottom card
face up and place it between the other cards. Say, “Perfect. You’ve mixed the
cards sight unseen and placed a random card face up in the middle. No one
could possibly know what this card could be, not even you. Yet, I have $20
riding on one card. And that card feels like the…Ace of Spades (named the card
you glimpsed earlier).” I like to slap the $20 bill down on the table. Have your
participant bring the cards into view and spread them on the table. The card you
predicted (Ace of Spades) will be face up in the packet.

Thought-of Card Variation - Instead of having the participant turn over a card,
you can merely have him think of the bottom card (after the counting sequence).
Presented this way, the premise is about reading the person’s mind rather than
predicting what card is turned over.

NOTES
The ranging number force from Ben Harris was published in Ionic Force (2011).

My use of mixing four cards according to a secret number was inspired by Jim
Steinmeyer’s “Three Card Monte” from his book Impuzzibilities (2002). The
basic principle was this: If three cards are transferred singly from top to bottom
according to a random number, and this process was repeated three times, the
packet would end up in its original order. I applied the idea to using four cards
in my Seven Wonders notes (2011) in the effect “Numerology.” In that effect, I
had to ascertain whether the participant was thinking of an odd or even number.
Stephen Hobbs suggested the idea of forcing an odd sum. The “Ionic Force”
inspired me to develop a similar force using imaginary dice.

12  
 
HIGH CARD
EFFECT
Two participants play a game of high card. Neither of them
wins with an Ace because the cards they burn during the
process end up being the four Aces.

This effect uses what I call the “Pure & Simple” sequence. Based on Lynn
Searles’ “So Simple Force,” it essentially allows a participant to repeatedly force
cards to himself as cards are eliminated from the deck. It is presented here as an
Ace production. By involving two spectators in a game of high card, it heightens
the fun, gives reason for the cuts, streamlines the actions, and leads to a
surprising revelation of four Aces.

SETUP
Begin with two Aces on top of the deck and two Aces in the center, with a Joker
directly above the centered Aces.

METHOD
Say, “I need the help of two people. I’ll give you each about half the deck, but
let me remove the Joker first.” Do some false shuffles, then spread through the
face-up deck to openly remove the Joker. This easily separates the deck above
the centered Aces lay. Hand half the deck to each of your participants. Unknown
to them, there are two Aces on top of each packet.

You will now guide them through the “Pure & Simple” sequence. Following the
script below, you will have your participants: 1) turn over half their cards; 2) turn
their entire packets over; 3) place all the face-up cards aside; 4) deal the next
face-down card off to the side; 5) then repeat these steps again. The moves are
fully justified by the presentation. Say, “We're going to play a game of ‘high
card’ to see who is luckier. There’s no prize; it’s just for fun. Would each of you
cut about half your cards and turn them over on top of your packets so we can
see what you got. It looks like Jessica is the luckiest so far…she has a King to
your Eight (or whatever). Now turn your entire packets over and see what you
got. Looks like Brian won that round. Let’s make things interesting by
eliminating all the face-up cards from your packet. And to keep things extra fair,

13  
 
let’s have each of you ‘burn’ a card like they do at the blackjack table—
meaning, deal the top face-down card off to the side. We won’t use it.”
After your participants each ‘burn’ a card, you will guide them through the entire
sequence again as they both turn over half their cards; turn their entire packets
over; place all the face-up cards aside; and deal the next face-down card off to
the side. During these actions, continue commenting on the cards that show and
congratulating who gets the highest card during each cut/turn of the cards.

They will be left holding a few cards. Have them discard these cards face up with
the rest of the deck. There should now be a large group of face-up cards on the
table and four lonely face-down ‘burn’ cards that were cast aside.

Say, “You both did great. I noticed, though, that none of you cut to an Ace.
That would have practically guaranteed you a win. Wait, I don’t think I saw ANY
Aces as you were cutting the cards. The only cards we didn’t see are the cards
you ‘burned.’ You don’t suppose…”

Invite someone to turn the four cards over. They will of course be the four Aces.
Conclude, “Now we know why they call it ‘burning’ cards. Those are the hottest
cards in the deck. Nicely done to both of you!”

NOTES
Lynn Searles’ “So Simple Force” first appeared in The Jinx Summer Extra (1936).

Don’t underestimate the high card presentation. People’s competitive spirit

really comes out. I’ve been pleasantly surprised by the laughter, excitement and
suspense it generates. Plus, it camouflages the method. Another goal I had was
not to telegraph the outcome. Participants are so focused on what cards turn up
during the cuts that the cards they ‘burn’ draw little or no attention.

You’ll notice that during the second round as the participants turn their entire
packets over, the same cards from the first round will show up. It usually goes
unnoticed. If it does, just chalk it up to coincidence.

14  
 
TIME WILL TELL
EFFECT
Following an eerie revelation, three random cards
match the current time of day.

This is a simple, yet very strong impromptu effect. Although it has some
restrictions on the exact time you can perform it, the effect plays very well when
the time is right. The reactions, as you’ll see, build from an amazing mental
revelation to a final visual kicker. Best part, the handling is nearly hands off.

METHOD
There is a very small set-up that can casually be arranged at a moment’s notice.
First, you must glimpse the time displayed on a participant’s watch. Suppose it is
3:25. Arrange three cards on top of the deck that match what the time will be
exactly two minutes from now (3:27). It’s an easy matter to cull these cards
during conversation. For this example, bring any Three, Two and Seven to the
top of the deck (in order from the top down). Memorize the suit of each card.

Give the deck some false shuffles and hand the deck to your participant. It will
be hands off from here. Guide him through the Spectator’s Shuffle Holdout
sequence described in “Hands Off Aces” (page 7). Briefly, with the deck held
face down, have your participant: spread off a few cards and table them face up;
mix the remaining cards; spread off a few more cards and table these face up
onto the tabled pile; and repeat these actions until the deck is depleted.

Say, “We need three random cards. Please pick up the deck, turn it face down,
and deal three cards in a row in front of you.” Suit actions to words and ask your
participant to deal three cards face down in a row in front of him, from left to
right. I like to have him across from me as he does this.

Say, “I also need you to hold a small personal object. Can you please remove
your watch? Great. Place your watch on ANY of the three cards.” As your
participant places her watch on a card, begin turning your head, but secretly
note what card the watch is placed on. Since you memorized the cards earlier,
you now know the name of the selection.

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Card Divination - With your head turned, ask the participant to peek at the
card. When he is done, have him place the watch into your hand. Turn toward
the audience. Hold the watch to your ear and say, “Have you ever heard the
expression time will tell? Just by listening, I might be able to read your mind.
My senses tell me you chose the (name the card)?” This is a very strong
moment. The use of the participant’s watch helps disguise the simple method.

Time Kicker - Glance at the watch to

make sure it’s approaching your target
time (3:27); stall or move on accordingly.
Hand the watch back and ask your
participant to turn over the three cards.
Say, “By the way, what is the exact
time?” After he says, 3:27, reply, “That’s
strange. Look at your cards. They are
telling us the time of this very moment.”

NOTES
The idea of cards displaying the time of day is not new. Richard Sanders and
David Acer have a Triumph-type effect called “Time Boards” that follows this
premise, among others.

Instead of having your participant deal three single cards, you can have him deal
three small piles. He can deal the first three in a row, then deal back and forth in
any order until he chooses to stop. Have him remember the bottom card of the
chosen packet. At the end, have all three packets turned over to show the cards
at the face. You might have to allow an extra minute for this variation.

When arranging your three-card set-up, don’t memorize each card individually.
Simply repeat the suits in order to yourself. This will make it easier to remember
all three cards. The values will be obvious because they are related to the time.

It will not be possible to do this effect at every time of day. Times with a zero,
one, eleven or twelve will not work very well. You could try using Aces as “ones”
but the final display would not be as clear.

Instead of using someone’s watch, you can use his mobile phone. Just sneak a
peek at the time display before starting.

16  
 
MAVERICK
EFFECT
After your participant thoroughly shuffles the deck,
he manages to deal himself a blackjack...and a royal flush.

This routine utilizes ideas from Chad Long's “Shuffling Lesson” to produce a
blackjack and royal flush through packets organically formed by the participant.
“Maverick” puts all the gambling action into the hands of your participant.

SETUP
Start with a royal flush in spades on the bottom, with the Ace and Jack together
second and third from the bottom (either order). Also have a Joker in the deck.

METHOD
Openly remove the Joker and place it aside. Turn the deck face down and hand
groups of cards to a few participants as you retain the bottom portion for
yourself. Ask them to shuffle their cards as much as they’d like. False shuffle your
packet as you cut the bottom card to the top during the process. Spread your
cards and have each of the shuffled packets returned in the center without
disturbing your setup. You now have one royal card on top, four on the bottom.

Hand the entire deck to a willing participant. You no longer need to touch the
cards. Say, “All the best gamblers start somewhere. Tonight, you are going to
become a high roller! First, you’ll have to master the basics—cutting, shuffling
and dealing.”

Continue, “Let’s start with cutting. Using the Joker as a “cut card,” insert it
anywhere in the middle. Lift the Joker and all the cards above it and place them
aside. You’re a pro.” Suit actions to words and have your participant cut off all
the cards including the Joker and place them on the table to the side. Unknown
to anyone, there is a royal flush card on top.

Say, “With the cards you have left, you’ll practice center spreads. It’s the
definitive way to mix the cards. Spread through the cards, take a few from the
middle, and place them on top. Great!” Using Chad Long's idea, have your

17  
 
participant spread some cards, remove a clump from the center and replace
them on top. Repeat again. Be sure the bottom four cards are not disturbed.

Say, “Finally, it's time to practice dealing. Please deal two piles. If you'd like,
you can spread off two small groups of cards to get you started. Now continue
dealing cards one at a time back and forth until there are no cards left.” Have
the participant continue dealing two piles until all the cards are dealt.

Blackjack - Recap how your participant did all the shuffling, cutting and dealing.
Say, “If you’re truly a maverick, you’d defy the odds and win at any game—like
blackjack. Take a look at the top card of each pile you dealt. What kind of hand
do you have?” Ask the participant to pick up the top card from each of her two
dealt piles, which will form a perfect blackjack—Ace and Jack! Ask her to place
these cards face up on the table next to the other piles. A little time misdirection
helps before revealing the royal flush. I usually produce a poker chip from
between the two cards or just comment on the odds of being dealt a blackjack
with the first two cards (which is about 1 out of every 21 hands).

Royal Flush - Say, “That’s fine for

the kids, but if you were a true
high roller, you could win at poker
too!” Have your participant to turn
over the top card of the three piles
(two dealt piles and the original
discarded pile). These three cards,
plus the Ace and Jack, will create a
picture perfect display of a royal
flush! Say, “Well played! Look out
Vegas, here you come.”

NOTES
Chad Long's “The Shuffling Lesson” appeared in Paul Harris’ The Art of
Astonishment, Book 3 (1996).

There are other gambling-themed routines that weave blackjack and poker,
including Ben Earl’s ”The Gambling Lesson” from Gambit, Issue 1 (2009) and
John Carey’s “My Game Is Poker” from Crafted with Carey (2015).

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COUNTERPOINT
EFFECT
After the participant mixes four cards according to a secret
number, the performer reveals the thought-of card.

During dialogue with Stephen Hobbs, I struck upon an

intriguing principle that involves counting and spelling any number between
zero and 10. “Counterpoint” puts this principle to work in a simple, devious
mental effect. There is minimal handling, just a glimpse, and it is essentially
hands off.

METHOD
From a shuffled deck in use, secretly sight the top card and remember it. Hand
the deck to your participant and guide her through a quick false shuffle, such as
the Ose False Cut (page 6) or Spectator’s Shuffle Holdout (page 7). Say, “We
only need four cards. Please deal one card onto the table, and continue dealing
three more cards from different parts of the deck into a small pile. You now
have four unknown cards.” Suit actions to words and guide your participant
through dealing four cards from different parts of the deck. The only
requirement is that the first card is dealt from the top of the deck; this positions
your key card on the bottom of the pile. Continue, “I’d like you to look at the
top card of our pile. Please remember it and don’t tell anyone what it is.” You
truly don’t know what the thought-of card is, yet you will be able to reveal it—
even after she mixes the cards under the table. Read on.

Ask your participant to take the cards under the table. Say, “Out of view from
anyone, you are going to mix your cards according to a secret number,
something known only to you. Please think of ANY number between zero and
ten. It can be zero, ten or any number in between.” You will now guide her
through the Counterpoint sequence following the actions of this script:

• COUNT: “Please count your number by transferring cards one at a time from
the top to the bottom equal to your secret number.”

• SPELL: “After you’ve counted your secret number, I’d like you to SPELL it by
transferring one card for each letter from the top to the bottom.”

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Have your participant bring the cards out from under the table and hand them
to you. You merely have to glimpse the bottom card. This can be done during
an all around square-up or as you place the cards on the table or inside the card
box. There are only two possible outcomes:

1. The bottom card will be different from your key card. If this is the case, then
this is the thought-of card! This will happen 54.5% of the time.
2. The bottom card will be the same card you glimpsed earlier. If this is the
case, then the thought-of card is on top. This will happen 45.5% of the time.

Scenario 1: If you take the packet back and notice the bottom card is different,
all you have to do is set the packet down as if you never looked at the cards,
then name the selection. I like to say, “All of this had nothing to do with
counting or spelling. It had to do with the look in your eyes as you did it. And if
I look a little deeper, I can tell that you are thinking of the (name card).” Think
about this. You apparently never looked at any cards. You do not know the
secret number. There is no fishing. Yet, you are still able to divine the card!

Scenario 2: If you notice the bottom card has not changed, then the selection is
on top, ready for you to reveal in any number of ways. You can casually shuffle
the top card to the bottom, glimpse it and name it; you can do a double lift to
show it is not on top, then change it; or you can place the cards in the card box,
then reach in and pluck it out. I prefer the latter.

In fact, I typically always place the packet in the card box. After the cards are
counted/spelled, say that you’ll hide the cards inside the card box. As you place
the cards inside, glimpse the bottom card, which gives you all the information
you need. You now have two ways to end: You can hold the box to your
forehead and verbally divine the card (scenario 1); or you can reach into the box
and pluck out the top card (scenario 2). Both are powerful feats.

NOTES
How does this work? With a four-card packet, if any number zero to 10 is
counted top to bottom, and that same number is spelled, there will only be two
possible outcomes: a) The numbers 2,5,6,8,9,10 (11 too) will shift the packet by
one card, always bringing the original top card to the bottom; and b) the
numbers 0,1,3,4,7 will bring the packet back to its original position.

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YOUR TURN
TO TRIUMPH
EFFECT
The audience openly mixes the deck face up and face down. Without
intervention from the performer, all the cards straighten except for the selection.

This version of Triumph has a hands-off premise that gives audience members
the freedom to cut and turn cards upside down. I’ve explored the idea in
previous effects, but this version is simpler and more hands off. I think you’ll also
enjoy the devious approach of having your audience do a Half Pass for you!

SETUP
Reverse the bottom half of the deck.

METHOD
There is some minimal handling in the beginning. Give the deck some shuffles
that only mix the top face-down cards. Spread through the top half to have a
card selected. As your participant shows the card around, feel for the natural
break between the halves and hold a pinky break. Take the selection and insert
it directly between the halves. Push the card in and down with your right thumb
as you secure a pinky break above it.

Spread a few cards and flip them face up onto the table. Spread a few more
cards and flip these face up onto the tabled pile. Continue doing this until you
get to your break. Pick up the face-up cards and weave them into the lower half
(face down selection stays on top). You can do this in the hands or on the table,
just don’t flash the face-up cards under the selection. Slowly square the deck to
reinforce the “topsy-turvy” nature. Finally, turn the entire deck over and place it
on the table. Position: face-down deck with face-up selection on the bottom.

It’s hands off from here. You will now have several participants cut and turn over
cards in an action similar to the Cut Deeper Force:
1. Invite a participant to cut off “a FEW cards,” turn them over and place them
back on top of the deck;

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2. Invite a second participant to follow similar actions, this time cutting off
“about HALF the deck,” turning it over and placing it back on top;
3. Finally, invite a third participant to “cut off a LOT of cards, but not all of
them,” turn them over and place them back on top.

During this process, ensure that each subsequent cut is deeper. Highlight how
they are mixing the cards upside down and every which way. Despite the
numerous times they turn cards over, you will always end with about half the
cards face up, half the cards face down, and the selection face up underneath.

The Spectator Half Pass - All that remains is to reverse all the cards below the
natural break, but it would be unnatural and unjustified for you to pick up the
deck and execute a Half Pass. Wait, what if you could have the audience do the
move for you? You will only need to touch the cards for a moment, but in a
manner that makes sense with the “hands off” premise. Casually cut the deck
into two piles, cutting at the natural break. You can easily do this by lifting the
entire deck about a quarter-inch off the table, then giving it a light downward
motion, which causes the cards below the natural break to fall to the table. Place
the upper half next to it. Now, address someone in the audience who can’t
reach the cards. Ask her to point to either pile that she’d like turned over. Have
a nearby participant turn the chosen packet over. Depending on which half is
turned over, direct her to reassemble the deck in such a way that it brings the
selection to the center. The Half Pass is done, and they did it for you!

Say, “These cards were in your hands, and you’ve turned them into chaos. But
just as in life, even when things seem too chaotic to fix, there is always a way.
Sometimes from chaos comes order.” Invite a participant to spread the cards on
the table. Point out that all the cards are now facing the same way, except for
one—the selection. It’s a powerful moment that they created.

NOTES:
The cut deeper procedure in this effect is used to control the condition of the
deck, not force a card as in the Cut Deeper Force in Hugard’s Magic Monthly,
Vol. 14, No. 6 (1956) under the effect “The All Fair Coincidence” by Ed Balducci
and Ken Krenzel. There are many related procedures, beginning with Christ’s
203rd force and similar forces by Lynn Searles, Sam Mayer and others. Steve
Reynolds applied related actions in “Spectator Triumphs” (S.R.O. notes, 2007).

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GEMINI SQUARED
EFFECT
Two participants place four business cards randomly in the
deck, but it doesn’t appear luck is on their side since the
adjacent cards are not Aces. In a surprising turn of events,
the business cards have predictions on the back that match
the four random cards. For the finale, the rest of the deck is blank.

“Gemini Squared” is an update to “Gemini Prediction,” which appeared on my

Brainstorm DVDs (2003). With the new one-degree tweaks: There is no need to
deal cards or do any displacements; the participants place all four business cards
in the deck; and the dealing process is streamlined. The “theatre” of the original
version is still there, from apparently failing to find four Aces, to the surprise of
the predictions, to the blank deck finale. While I published this effect in my
Seven Wonders notes, I am including it here because it perfectly embraces the
hands off premise. Based on a Karl Fulves classic, “Gemini Squared” is one of
the easiest, yet strongest effects I do.

SETUP
On top of a face-up blank deck, arrange four cards: AC, KH, 4S, 5D (Ace at the
face). The cards are in CHSD order. You’ll also need five business cards. On the
back of four of them, write the names of the above listed cards. With the writing
facing you, arrange them in the following order: Plain business card, AC, 5D, 4S,
KH (almost the same as the playing cards, but the bottom three are reversed).

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METHOD
Place the five business cards on the table with the predictions facing the table.
Give the deck a face-down shuffle that does not disturb the bottom four cards.
Turn the deck face up and overhand shuffle three cards singly from the face and
drop the deck on top. Turn the deck face down. Peel two cards singly to the
center and keep a break between them. Ask for the help of two participants.
Dribble the cards below the break to apparently split the deck at a random
place. Give the bottom half to the participant on your left and the top half to the
participant on your right. Spread off the top two business cards and place them
in front of the right participant. Spread the next two and place them in front of
the left participant. Place the remaining business card aside for later.

Say, “I have a feeling luck is in the air. I’d like both of you to help by placing
these business cards in four random places in the deck.” You’ll now guide the
two participants through a dealing procedure to apparently bury the business
cards in four random places. By having two participants perform these actions
with half the deck each, they’ll each arrive at two "random" cards without you
needing to touch the deck at all. The simultaneous dealing also makes the
process more streamlined than dealing four times in a row.
1. Have each participant deal as many cards as they’d like;
2. Have each place the top business card of their pile on top of the dealt cards,
then place the undealt cards on top of this;
3. Have each participant pick up their entire packet and repeat the above steps
to bury the next business card. The only consideration is that they must stop
dealing before the first business card appears.

Have your participants spread their cards on the table from left to right. Instruct
them to remove each of the four business cards with the card directly above it.
Place the rest of the deck aside next to the fifth business card. Say, “You both
had complete freedom in placing these business cards anywhere you wanted.
Let’s see if luck was on our side.” This line sets the stage for the possibility of
finding four good cards, like Aces. Turn over the playing card on your far left to
show the Ace of Clubs. Triumphantly turn over the next playing card as you
begin naming another Ace, but look puzzled that it’s the Five of Diamonds. Turn
over the remaining two cards to show the Four of Spades and the King of
Hearts. Shake your head and nervously whisper, “I knew this was going to
happen.” Pause and continue, “No wait, I KNEW this was going to happen! I

24  
 
knew you would choose these exact four cards. I even wrote predictions on the
back of the business cards.” Turn over the business cards to show that the
predictions all match!

After the applause, say, “I have one more prediction and I think you’re going to
be very surprised.” Turn over the fifth business card, which unexpectedly has no
writing on it. Continue, “This business card is completely blank...and so is the
rest of the deck!” Spread the deck face up to show all blank cards.

NOTES
”Gemini Twins” by Karl Fulves appeared in More Self-Working Card Tricks
(1984). It was originally published by Fulves as “Stopped Twice” in Impromptu
Openers (1979). Thedore Annemann’s effect “Locatrick,” a precursor to “Gemini
Twins,” appeared The Jinx, issue 39 (1937).

Never underestimate the power of adding drama to your routines. Just like a
cliffhanger in a movie or television show, when you build dramatic tension to a
point that there seems to be no way out, then deliver an unexpected plot twist,
it gives your audience something extraordinary to remember.

I may be idealistic in this view, but I believe that when audiences see the
impossible, they leave with the feeling that anything is possible. That is the
power of magic. It’s an awesome responsibility we hold as magicians. Next time
you’re performing, take pride in the extraordinary moments you create.

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www.MagicJohnG.com

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