Cardially Yours

Tho State Library of Victoria "ALMA CONJURING C O L L E C T I O N "

CARDIALLY YOURS. Al Baker.

COLOR

FLIGHT

There h a v e hperi ever so m a n y m e t h o d s of cards p a s s i n g from one e n v e l o p e or pocket into another .i?^but in this case I h a v e gone a step farther* inasm u c h as the two p a c k e t s are of different c o l o r s , -i^w 'When three selected "blue t a c k e d c a r d s p a s s into a fr$ packet of red b a c k e d cards, there is no doubt in anyone's mind b u t that the cards h a v e actually fy S3 traveled. v^r A little p r e p a r a t i o n is n e c e s s a r y and the g a m o u n t of skill n e e d e d is v e r y s m a l l . H o w e v e r , the «5\p effect b u i l d s to a perfect c l i m a x gjid is w o r t h any kP amount of effort e x p e n d e d . ^ Three decks are n e e d e d to p r e p a r e for the eff£ e c t . One deck h a s red "backs and the other two h a v e blue. Shuffle a blue d e c k w e l l to m i x the cards and note the top ten. F r o m the second b l u e d e c k take the ten duplicates of these cards. D i s c a r d s the rest of this deck as y o u do not need it any m o r e . These ten duplicates are n o w added to the red d e c k in a n o v e l m a n n e r . Take any ten of' the red cards and stick a m i n u t e piece of w a x (size of a pin h e a d ) to the index pip in the u p p e r left and -lower right c o r n e r s . T a k e one of the d u p l i c a t e h l u e s , lay it on the face of a red waxed card, even them up- and squeeze them together so that the b a c k of the blue is Btuck to the face of the r e d . W h e n this h a s been done w i t h the ten cards they are placed on top of the red p a c k and the p a c k inserted into its' c a s e . Thus the faces of these ten double cards w i l l be duplicates of the top ten cards of the u n p r e p a r e d "blue p a c k . X l s o at h a n d is a stack of four or five envelopes and a l t h o u g h they look innocent there is a slight preparation h e r e a l s o . W i t h the flap sides up, the top envelope is u n p r e p a r e d . The second envelope h a s its' flap entirely cut off and the third envelope h a s its' flap opened out and then folded h a c k over the second and flapless e n v e l o p e . When the top or first envelope h a s "been removed, the second appears p e r f e c t l y n o r m a l .

The third envelope contains seven blue b a c k e d cards that you h a v e taken from the unprepared blue d e c k you are going to u s e . (Not from the one you have discarded.) You are now ready to p e r f o r m the trick. A spectator is asked to come up and assist y o u . He is h a n d e d the blue deck and you take the red p a c k . You a s k h i m to do the same as you d o . Count from the top of y o u r red deck ten cards, one at a time upon the table face down, and at the same time the spectator does likewise w i t h h i s b l u e c a r d s . F o r obvious reasons, the performer is careful not to allow the faces of h i s cards b e i n g seen. The performer picks up h i s pile of ten red cards, also p i c k s up the top unprepared envelope from the stack, places the red packet openly within and w r i t e s on the flap the letters 'RED.' He puts the envelope on an inverted tumbler or in any spot where it is isolated and in full v i e w . The spectator is then requested to take h i s ten "blue cards, p a s s into the audience and h a v e three p a r t i e s each remove a c a r d . W h e n this h a s "been done, the three spectators are asked to r e m e m b e r their cards and return them to the p a c k e t . ~~ ~ The performer takes the packet of ten 'blue 'cards from spectator and picking u p the packet of e n v e l o p e s places the blue cards into the top envelope which is really f l a p l e s s . The flap of the envelope just beneath appears to "be the flap of the top one, and after the b l u e cards are inserted in the top and flapless envelope, the flap is closed down and the w o r d 'BLUE' w r i t t e n on same. It is n o w opened, touched to the lips to wet flap and the second envelope containing seven b l u e cards is drawn entirely away from the packet w h i l e the flapless e n v e l o p e containing the original ten and now on the face of the stack, is laid face down on the table and covered by the other envelopes. The envelope marked 'BLUE' is now placed on another inverted tumbler or placed somewhere in full view.

The performer now states that h e w i l l attempt p a s s i n g the three selected cards from their envelope into the o t h e r . He asks the first gentleman the name of h i s card and commands it to p a s s . This is repeated w i t h the second and t h i r d . The performer now opens h i s red envelope, removes the cards and fans them w i t h faces towards the audience until the first of the three named cards a p p e a r s . The packet is then cut making this card the face card of the ten and facing a u d i e n c e . The packet is "being h e l d squared in the left h a n d , w i t h thumb on the face and fingers at the b a c k . The left thumb now exerts a little pressure and pushes the face card forward w h i c h separates it from the waxed card b e h i n d , or in other w o r d s , from the red hacked card to w h i c h it is stuck. Without showing the back of this pushed off card it is stood in full view against something w i t h its' face always toward audience. The packet is again fanned as b e f o r e until the second named card appears and this is also cut to the face of the p i l e . This is pushed off as w a s the first and placed beside it. Then the third is found and removed in the same m a n n e r . The p e r f o r m e r now counts the r e m a i n d e r of the - r e d packet and finds ten cards, p r o v i n g that the three had actually in some m y s t e r i o u s manner joined the others. The performer then requests the spectator to open h i 8 envelope and count the cards t h e r e i n . The spectator does so and finds only s e v e n . The performer then states that as the spectator h a s only seven w h i l e h e has thirteen, the three cards did actually travel. The performer now apparently h e a r s a remark from the audience, 'How about the b a c k s ? ' The performer says, 'Surely, if they came from over there, they must be b l u e . ' Picking up the three cards h e turns them showing each to h e a blue card w h i c h h e smilingly hands to the spectator with the request that he return them to the p a c k from whence they came.

F o r stage use and where the p e r f o r m e r can u s e a table w i t h a b l a c k art well, it isn't necessary to use any envelopes at a l l . The packets are merely held together w i t h a rubber band and placed on the glasses as b e f o r e . In front of the w e l l is the b a n d e d packet of seven b l u e c a r d s . These are covered w i t h a silk handkerchief. W h e n the spectator r e t u r n s w i t h the ten blue cards from audience, the p e r f o r m e r takes them, snaps a b a n d around them and a p p a r e n t l y lays them on the table b e h i n d h a n d k e r c h i e f as left h a n d picks u p h a n d k e r c h i e f and w i p e s g l a s s . However, the packet of ten w a s dropped into the w e l l , and the removal of silk b r i n g s to view the packet of seven w h i c h are then placed on the inverted t u m b l e r . E v e r y performer h a s h i s own pet methods for an exchange of cards or other o b j e c t s . There is no need for anyone to 'unlearn' h i s method as everything depends upon this one exchange, so we shall leave this to your individual choice.

OUT ON L O C A T I O N .

This is a fine card location to use w h e n among m a g i c i a n s and card e x p e r t s . At any opportune moment when something elBe is b e i n g done, p i c k up the d e c k and n o t e the b o t t o m card. Then fan them w i t h faces up and note the fifth card from b o t t o m . K e e p on fanning and note the next fifth card, and finally the next f i f t h . T h i s m a y sound difficult at the first reading but the bottom card of deck is the only one you actu a l l y r e m e m b e r . Say the bottom card is the F i v e of D i a m o n d s . Y o u remember this in f u l l . Then suppose the fifth card from b o t t o m to b e a Seven of C l u b s . D i s c a r d the Clubs and just say 5 7 . The next fifth, card might be the S i x of H e a r t s . Think 60 and run on to the next fifth card w h i c h could b e the Three of S p a d e s . Then say 6 3 . Thus y o u merely r e m e m b e r 5763 . A s long as you r e m e m b e r the F i v e of D i a m o n d s you are all r i g h t . N o w that you h a v e noted these cards, cut about seven from the b o t t o m to the top and y o u are r e a d y . A s k someone to divide the p a c k about h a l f w a y and complete the c u t . Then explain that no one including y o u r s e l f can know what is on top of the p a c k . They acknowledge this and y o u ask them to look and then to b u r y the card in the m i d d l e of the p a c k . ..It is w e l l to s a y s o m e w h e r e in the m i d d l e of-the pack,* an offhand w a y of suggesting the center so that it doesn't sound like a c o m m a n d . They are then to cut the deck several times and then you take the p a c k . F a n n i n g through you look for the five of d i a m o n d s . ITtw run the cards and count to the left of this key card and the 5763 w i l l always come -back to you w i t h no thought at a l l . Y o u count five cards starting w i t h the key card and look for the s e v e n . If there, k e e p on going and count five m o r e to the s i x . Somewhere among these groups w i l l be a stran ge card and this w i l l immediately b e apparent in the check up of the k e y s . One group w i l l h a v e six cards instead of f i v e . Thus you k n o w the selected card to be one of them and y o u cut this group of cards to the top of d e c k . N o w glance at them and quickly r e m e m b e r them from the top down by their values only as, 2 3 8 K 6 . Place the p a c k behind y o u r b a c k and ask h o w m a n y spots are on the c a r d . Immediately y o u r hand comes out w i t h the correct card, and at the same time ask them to name the entire card. They do so and upon turning over the card w h i c h you h a v e just placed on their h a n d , it is found to be correct. C t Z

EYES ALL AROUND. The p e r f o r m e r tells h i s audience that in order to he a successful m a g i c i a n or m i n d r e a d e r one must find out things than an audience doesn't w i s h h i m to k n o w . He continues, 'Tonight I am going to give you an exhibition of just h o w this may b e a c c o m p l i s h e d . ' 'I a m going to h a v e several of my audience think of a n u m b e r from 1 to 10 and w i t h a hit of chicanery I w i l l discover the v e r y thoughts that y o u w i l l be trying to k e e p from m e . ' Asking one party to think of any n u m b e r from 1 to 10 the p e r f o r m e r p r o d u c e s a pack of cards and says, 'While m y h a c k is turned, I want you to count f r o m the deck one at a time, the full n u m b e r you h a v e thought of and after shuffling this packet place them in y o u r pocket.' The performer turns h i s hack while this is d o n e . Without turning around again the p e r f o r m e r h a s spectator remove cards from the deck until commanded to stop. The p e r f o r m e r takes the stopped at card from spectator, touches spectator's pocket with it, and asks h o w many cards are in the pocket w h i c h r e p r e s e n t s the n u m ber "being thought o f . The party says, for instance, 'Eight.'. The p e r former turns over the stopped at card w h i c h he is h o l d - ing and it proves to b e an eight spot. R e m a r k i n g that many will think it a stroke of luck or a good guess, the p e r f o r m e r states h e w i l l try it again with someone else and d o e s so several times, the test always b e i n g s u c c e s s f u l . The means for accomplishing this b e a u t i f u l effect are very simple, although b a f f l i n g to the u n i n i t i a t e d , and w i t h the proper address can he made into a f e a t u r e demonstration. The method depends upon a simple a r r a n g e m e n t . Forget the s u i t s . Arrange the v a l u e s from the b a c k of deck towards face as follows; A , 2 , 3 , 4 , 5 , 6 , 7 , 8 , 9 , 1 0 , repeat this three times more and lastly all p i c t u r e s cards are placed on the b o t t o m in any o r d e r . W h e n the first person thinks of a n u m b e r , the performer shows h i m just what to d o . Performer, w i t h cards in h a n d , says, ' Suppose y o u thought of three. Y o u would count three cards from the

top of the deck, one at a time.' P e r f o r m e r suits action of h i s w o r d s by doing so. He continues, 'You w o u l d then lay deck aside, m i x the three cards and place them in y o u r p o c k e t . ' The performer noy/ places these three dealt off cards on bottom of p a c k and h a n d s same to spectator. The placing of these three cards on the b o t t o m from the" top is v e r y important as this is y o u r clue to the first number thought o f . This trick w o r k s in tens and as you h a v e removed three cards, seven becomes y o u r k e y n u m b e r b e c a u s e three p l u s seven m a k e s ten. The spectator counts off h i s thought of n u m b e r of cards while p e r f o r m e r ' s b a c k is t u r n e d . The counted off packet is shuffled and pocketed b y spectator. Without turning the p e r f o r m e r says, 'Without seeing or k n o w i n g h o w m a n y cards you have taken, I w i l l try to discover the n u m b e r of w h i c h you are thinking. P i c k up the rest of the pack and remove one from the top for m e . Remove a n o t h e r . A n o t h e r . ' The performer keeps this m a n e u v r e up, silently k e e p i n g track of the n u m b e r of cards removed until six are o f f . The next card, or seventh, is the wanted one. P e r f o r m e r says, 'Place the p a c k on top of the cards just counted off.' Turning f o r - t h e ^ f i f time he continues, 'Hand me the next card from the top.' Taking this card and touching the pocket of the spectator he asks, 'How many h a v e y o u there to represent the number thought of?' The spectator says, for instance, 'Eight.' The performer turns the card he is h o l d i n g face up and it proves to be an eight. The cards from the spectator's pocket are n o w placed on the b o t t o m of d e c k . The eight spot p e r f o r mer is h o l d i n g is also placed on b o t t o m , and as eight and two are ten, two b e c o m e s the key n u m b e r for the next time. In other words, no m a t t e r what the secret n u m b e r be the next time, the p e r f o r m e r knows that the second card w i l l be the one to rev e a l the number of cards in spectator's p o c k e t . This can b e repeated once more or three times in a l l . It is possible to do this four times but it is dangerous and not advisable b e c a u s e you are getting too deeply into the d e c k for s a f e t y . The only reason for spectator shuffling the cards that h e pockets is to destroy the arrangement so that upon removal they w i l l not b e seen to h a v e any particular o r d e r . G J Z

/ ^ B s t ^ C & t /

THE F A L L OF T H E W I S E There h a s n e v e r b e e n an audience but what contained at least one 'wise guy' w h o w a s ripe for picking. The success of this effect depends entirely upon the apparent clumsiness of the performer i b o t h in getting ready to do the trick and in the actual p e r f o r m a n c e . The performer h a s in h i s pocket the lower and pointed h a l f of a heart pip w h i c h he h a s cut from a card. Ticking up the p a c k he says, 'I am going to show you the celebrated and much talked about three card monte trick.' 'First I shall remove three A c e s from the d e c k . ' H e runs through the cards but does not show the cards that he takes o u t . The performer actually takes out the Ace of H e a r t s and the two black A c e s . He turns h i s b a c k w i t h the remark that he w a n t s to arrange t h e m . He removes the h a l f pip from pocket and lays it on the Ace of H e a r t s where the upper pip would b e on the Three of H e a r t s . H e covers this h a l f pip w i t h h i s left thumb but leaves juBt enough p r o t r u d i n g below thumb so that it can b e seen but apparently u n k n o w n to p e r f o r m e r . The two b l a c k a c e s a r e - h e l d - w i d e l y - — ... fanned b y the right h a n d and in front of an against the A c e of H e a r t s . Thus the u p p e r A c e index corner is covered b y the left thumb and the lower Ace index is concealed b y the right card of the f a n . W i t h cards held in this m a n n e r he turns and says, 'Here I h a v e the Ace of Clubs, Ace of Hearts and Ace of Spades.' Instantly the w i s e guy, seeing the slightly v i s i b l e pip from u n d e r left thumb, knows ( ? ) that it isn't an Ace but a three, and immediately clears h i s decks for action. Performer states, 'I w i l l lay the three cards faces down on the table,*and still h o l d i n g them turns the fan of three face d o w n . As h a n d s are removed, the left thumb carries the h a l f pip away with it. The p e r f o r m e r says, 'I am going to change one of those cards into an entirely different card and to make it easy to follow I shall turn two face up.' He now turns the two b l a c k aces f^ce u p . By this time the w i s e guy h a s b e g u n to m a k e h i m self useful by remarks and states that h e can already name it or words to the same e f f e c t . After a proper build up h e is allowed to turn it over and receive an object lesson that one should never bet on another man's g a m e . IT IS T H E A C E OF HEARTS'.

A DIRTY

TRICK

This is a fine effect to use where you h a v e "been useing a prearranged d e c k and do not care now if the order "be d e s t r o y e d . In your vest pocket you h a v e a small receptacle containing powdered graphite or lead pencil' s c r a p i n g s . Lay"the p a c k on the table and secure a little of the powder under the nail of y o u r index finger of right h a n d . A s k someone to cut the pack into two p i l e s . As you say this, make the motion w i t h your finger and tap the table next to the deck where the cut off h a l f w i l l l a y . That action leaves a small mound of graphite on the table in r e a d i n e s s . The cards are cut on top of this m o u n d . H e is told to remove the card cut at (the top card of the lower h a l f ) then to return the cut off portion and shuffle the deck thoroughly minus the selected c a r d . H e is then to insert the card h e selected and again shuffle. You now take the deck and f a n n i n g through look for the one card that w i l l h a v e a smudge on the face of it. This card is not the selected card but because of the fact that the deck w a s stacked it tells you the n a m e of the chosen one I Just count one ahead in the system b e i n g u s e d . Then look through the deck, find-this c a r d — and place it face down on the t a b l e . The spectator names h i s selected card, turns over the one on table and the performer is found c o r r e c t . W i t h glazed cards, a slight rub of the thumb w i l l remove the smudge.

AL BAKER'S STACKED DECK. This is my own original stacked d e c k and a trial w i l l convince y o u that many w o n d e r f u l stunts can he done w i t h o u t complicated adding and subtracting or m e n t a l calculations that are so common inmother prearrangements. Y o u must first learn the simple ditty, 'Eight Kings threatened to save, n i n e t y - f i v e ladies for one sick K n a v e . ' W h e n you know this by heart y o u are all ready to arrange a pack according to m y f o r m u l a . Although y o u use the 'Eight K i n g ' ditty, it is put to another use in this w a y . W h a t e v e r n u m b e r appears on the b o t t o m of a group of cards, the next word iA the ditty w i l l tell how many cards are in that g r o u p . For instance, if a N i n e appeard on the b o t t o m of a group, the performer w o u l d say to h i m s e l f , 'Ninety-five ladies,' and the word following nine is five or the n u m b e r of c a r d s . i n that g r o u p . N o w for the set up of the d e c k . The ditty is 'for one sick H h a v e , ' so the first card is a four, for the reason that four is one.because four p r e c e e d s one in the d i t t y . N o w , h o w do we find t w o ? What is b e f o r e two in the ditty? T e n . So the second card is a T e n . And now what is b e f o r e three in the d i t t y ? K i n g . So K i n g is the third c a r d . -——-• — A c c o r d i n g to this rule the arrangement from the top down from one to ten w i l l be 4, 10, K , Q, 9, A , 2, J", 7, 3 . This is repeated four times m a k i n g a deck of forty cards w h i c h will be y o u r p r a c t i s e d e c k . Shuffle cards by overhand cutting until a three appears on the b o t t o m . When a three is on b o t t o m y o u k n o w the cards are in o r d e r . Hold the deck fn left hand in the same position for making the one hand Charlier p a s s . You explain that y o u are so proficient w i t h cards that you can instantly tell b y looking at them how many cards are c u t . Y o u ask h i m to push down a bunch and y o u immediately name the n u m b e r of cards pushed down in this m a n n e r . Y o u are able, by the manner in w h i c h you are holding the deck, to see the index corner of the face card of the pushed down p a c k e t . Suppose it be a 7 . By thinking of the jingle, 'Eight K i n g s threatened to save,' the next word is 'ninety' or nine, and you therefore know that either 9, 19, 29 or 39 cards h a v e been pushed d o w n . Your eye instantly tells y o u w h i c h

of the f o u r possible n u m b e r s it is. Suppose a Queen w e r e to show up on the bottom of the pushed down packe t . W h a t e v e r word follows 'ladies' in the jingle, that is the n u m b e r of the c a r d . As 'for' follows 'ladies' there must b e either 4, 14, 24, or 34 cards in the p a c k e t , and surely your eye can't deceive y o u as to w h i c h it may b e . N o w comes the second step of the operation w h i c h changes matters slightly but which is just as simple. Suppose the cards are cut a n u m b e r of t i m e s . In this case the b o t t o m card of the pack plays an important p a r t . Say for instance there is a 9 spot left at the b o t t o m . You r e m e m b e r what follows 9 in the j i n g l e . F i v e . So w e call the b o t t o m card a f i v e . A group is again pushed d o w n . You glance at the index and find a 7 . Y o u know that 'ninety' follows 'save' in the jingle so it is a n i n e . You subtract the b o t t o m card from the one pushed d o w n . Five from nine leaves f o u r . So there are either 4, 14, 24 or 34 cards in the group. If the card pushed down ia smaller than the b o t t o m card you merely add 10 and subtract the b o t t o m card w h i c h gives you the correct n u m b e r . If this rule is followed it b e c o m e s just as easy to name the n u m b e r of cards pushed down as when they are in their n a t u r a l o r d e r . — Bringing the cards b a c k to n o r m a l by getting any three spot to the bottom, you can readily cut any n u m b e r called f o r . Suppose someone calls for 26, Y o u think what p r e c e d e s in the d i t t y . 'One' Therefore you know that an Ace is at 6, 16, 26 and 3 6 . So y o u cut approximately 26 cards and look for the nearest A c e . The above arrangement of 40 cards w i l l be found satisfactory by many performers but there w i l l be a few who w i l l want a full deck of 5 0 . W i t h this principle it is impossible to have 52 cards. It w i l l h a v e been noticed that the fives, sixes and eights were left out. Place the four fives on the b o t t o m of the deck in a suit order that you w i l l remember as one, two, three and four. F o l l o w these w i t h the four sixes in the same suit order and call them five, six, seven and e i g h t . F o l l o w these w i t h two eight spot and ca]l them n i n e and t e n . This makes just another group of ten cards and the p r i n c i p l e remains the same. When the cards are n o r m a l they make very little difference if a n y . W h e n the d e c k is cut and one of this group shows up, its' own n u m b e r is used and the jingle forgotten in this p a r t i c u l a r case*

F o r example, suppose you were u s i n g H e a r t s , Clubs, D i a m o n d s , Spades for your suit o r d e r . Then the F i v e of H e a r t s w o u l d he 'one; the Five of C l u b s w o u l d h e 'two'; the 5D w o u l d he 3; and the 5S w o u l d he 4; the 6 H w o u l d he 5, etc., u p to the 10th card w h i c h w o u l d he the 8 C . If the p a c k w e r e cut and the 6D appeared on the b o t t o m you w o u l d instantly k n o w it as 7 . Subtract 7 from the jingle value of the card pushed down and you h a v e the same result as w i t h the 4C card d e c k . In my book (Al Baker's B o o k ) there is an effect titled 'A Card and a N u m b e r ' w h i c h u s e s a p r e a r r a n g e d d e c k . This stack simplifies matters greatly and is a perfect arrangement for that p a r t i c u l a r trick.

THE O N E I L I K E This trick is an object less for all p e r f o r m e r s . It is a case of getting something from n o t h i n g . It is purely an off hand effect that y o u can do w h e n e v e r the occasion p r e s e n t s itself and n e e d s a m a n t l e , a shelf or some place w h e r e objects can be placed above y o u r h e a d . Take two objects that may b e h a n d y and place them on the shelf about h a l f a y a r d a p a r t . H a v e a spectator stand facing them and ask h i m to look at them for a m i n u t e . He is to decide upon one of them w h i l e y o u r b a c k is turned, take it down, say to h i m s e l f 'I like this one best' and then replace it. The p e r f o r m e r then turns around and looking at h i m intently for a second, indicates THE O N E H E L I K E D BEST'. The method is simply the old principle of b l o o d less h a n d s . The spectator faces two objects above h i m . He takes down one or the other and then r e p l a c e s . The mere action of this causes the blood to leave the h a n d used and at a glance the performer knows w h i c h h a n d was used because of the w h i t e n e s s . This is merely to show that no matter h o w old and simple a principle may he, it can be dressed in a manner that makes it new, and w i t h proper p r e s e n t a t i o n b e c o m e a modern m i r a c l e .