This document provides instructions for performing a magic trick called "Color Flight" where three selected cards from a blue deck appear to magically travel into a red deck. It involves using duplicate cards and preparing the decks and envelopes in advance. The performer and a spectator each count out ten cards from their decks and place them in envelopes. Through misdirection with the envelopes, the selected blue cards appear to switch decks and join the red cards.
This document provides instructions for performing a magic trick called "Color Flight" where three selected cards from a blue deck appear to magically travel into a red deck. It involves using duplicate cards and preparing the decks and envelopes in advance. The performer and a spectator each count out ten cards from their decks and place them in envelopes. Through misdirection with the envelopes, the selected blue cards appear to switch decks and join the red cards.
This document provides instructions for performing a magic trick called "Color Flight" where three selected cards from a blue deck appear to magically travel into a red deck. It involves using duplicate cards and preparing the decks and envelopes in advance. The performer and a spectator each count out ten cards from their decks and place them in envelopes. Through misdirection with the envelopes, the selected blue cards appear to switch decks and join the red cards.
CARDIALLY YOURS. Al Baker. COLOR FLIGHT There have hperi ever so many methods of cards p a s s i n g from one envelope or pocket into another .i?^but in this case I have gone a step farther* inas- much as the two packets are of different colors, -i^w 'When three selected "blue tacked cards pass into a fr$ packet of red backed cards, there is no doubt in anyone's mind but that the cards have actually f y S3 traveled. v^r A little preparation is necessary and the g a m o u n t of skill needed is very small. However, the 5\p effect builds to a perfect climax gjid is worth any kP amount of effort expended. ^ Three decks are needed to prepare for the eff- ect. One deck has red "backs and the other two have blue. Shuffle a blue deck well to mix the cards and note the top ten. From the second blue deck take the ten duplicates of these cards. Discards the rest of this deck as you do not need it any more. These ten duplicates are now added to the red deck in a novel manner. Take any ten of' the red cards and stick a minute piece of wax (size of a pin head) to the index pip in the upper left and -lower right corners. Take one of the duplicate hlues, lay it on the face of a red waxed card, even them up- and squeeze them together so that the back of the blue is Btuck to the face of the red. When this has been done with the ten cards they are placed on top of the red pack and the pack inserted into its' case. Thus the faces of these ten double cards will be duplicates of the top ten cards of the unprepared "blue pack. Xlso at hand is a stack of four or five envel- opes and although they look innocent there is a slight preparation here also. With the flap sides up, the top envelope is unprepared. The second en- velope has its' flap entirely cut off and the third envelope has its' flap opened out and then folded hack over the second and flapless envelope. When the top or first envelope has "been removed, the second appears perfectly normal. The third envelope contains seven blue backed cards that you have taken from the unprepared blue deck you are going to use. (Not from the one you have discarded.) You are now ready to perform the trick. A spectator is asked to come up and assist you. He is handed the blue deck and you take the red pack. You ask him to do the same as you do. Count from the top of your red deck ten cards, one at a time upon the table face down, and at the same time the spectator does likewise with his blue cards. For obvious reasons, the performer is care- ful not to allow the faces of his cards being seen. The performer picks up his pile of ten red cards, also picks up the top unprepared envelope from the stack, places the red packet openly within and writes 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 view. The spectator is then requested to take his ten "blue cards, pass into the audience and have three parties each remove a card. When this has "been done, the three spectators are asked to remember their cards and return them to the packet. ~~ ~ The performer takes the packet of ten 'blue 'cards from spectator and picking up the packet of envelopes places the blue cards into the top envelope which is really flapless. The flap of the envelope just be- neath appears to "be the flap of the top one, and after the blue cards are inserted in the top and flap- less envelope, the flap is closed down and the word 'BLUE' written on same. It is now opened, touched to the lips to wet flap and the second envelope con- taining seven blue cards is drawn entirely away from the packet while the flapless envelope 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 he will attempt passing the three selected cards from their envelope into the other. He asks the first gentleman the name of his card and commands it to pass. This is repeated with the second and third. The performer now opens his red envelope, re- moves the cards and fans them with faces towards the audience until the first of the three named cards appears. The packet is then cut making this card the face card of the ten and facing audience. The packet is "being held squared in the left hand, with thumb on the face and fingers at the back. The left thumb now exerts a little pressure and pushes the face card forward which separates it from the waxed card behind, or in other words, from the red hacked card to which it is stuck. Without showing the back of this pushed off card it is stood in full view against something with its' face always toward audience. The packet is again fanned as before until the second named card appears and this is also cut to the face of the pile. This is pushed off as was the first and placed beside it. Then the third is found and removed in the same manner. The performer now counts the remainder of the -red packet and finds ten cards, proving that the three had actually in some mysterious manner joined the others. The performer then requests the spectator to open hi8 envelope and count the cards therein. The spectator does so and finds only seven. The perfor- mer then states that as the spectator has only seven while he has thirteen, the three cards did actually travel. The performer now apparently hears a remark from the audience, 'How about the backs?' The performer says, 'Surely, if they came from over there, they must be blue.' Picking up the three cards he turns them showing each to he a blue card which he smilingly hands to the spectator with the request that he return them to the pack from whence they came. For stage use and where the performer can use a table with a black art well, it isn't necessary to use any envelopes at all. The packets are merely held together with a rubber band and placed on the glasses as before. In front of the well is the banded packet of seven blue cards. These are covered with a silk handkerchief. When the spectator returns with the ten blue cards from audience, the performer takes them, snaps a band around them and apparently lays them on the table behind handkerchief as left hand picks up handkerchief and wipes glass. However, the packet of ten was dropped into the well, and the removal of silk brings to view the packet of seven which are then placed on the inverted tumbler. Every performer has his own pet methods for an exchange of cards or other objects. There is no need for anyone to 'unlearn' his method as everything depends upon this one exchange, so we shall leave this to your individual choice. OUT ON LOCATION. This is a fine card location to use when among magicians and card experts. At any opportune moment when something elBe is being done, pick up the deck and note the bottom card. Then fan them with faces up and note the fifth card from bottom. Keep on fanning and note the next fifth card, and finally the next fifth. This may sound difficult at the first reading but the bottom card of deck is the only one you act- ually remember. Say the bottom card is the Five of Diamonds. You remember this in full. Then suppose the fifth card from bottom to be a Seven of Clubs. Discard the Clubs and just say 57. The next fifth, card might be the Six of Hearts. Think 60 and run on to the next fifth card which could be the Three of Spades. Then say 63. Thus you merely remember 5763 . As long as you remember the Five of Diamonds you are all right. Now that you have noted these cards, cut about seven from the bottom to the top and you are ready. Ask someone to divide the pack about halfway and complete the cut. Then explain that no one including yourself can know what is on top of the pack. They acknowledge this and you ask them to look and then to bury the card in the middle of the pack. ..It is well to s a y s o m e w h e r e in the middle of-the pack,* an offhand way of suggesting the center so that it doesn't sound like a command. They are then to cut the deck several times and then you take the pack. Fanning through you look for the five of diamonds. ITtw run the cards and count to the left of this key card and the 5763 will always come -back to you with no thought at all. You count five cards starting with the key card and look for the seven. If there, keep on going and count five more to the six. Somewhere among these groups will be a stran ge card and this will immediately be apparent in the check up of the keys. One group will have six cards instead of five. Thus you know the selected card to be one of them and you cut this group of cards to the top of deck. Now glance at them and quickly remember them from the top down by their values only as, 238K6. Place the pack behind your back and ask how many spots are on the card. Immediately your hand comes out with the correct card, and at the same time ask them to name the entire card. They do so and upon turning over the card which you have just placed on their hand, it is found to be correct. C t Z EYES ALL AROUND. The performer tells his audience that in order to he a successful magician or mindreader one must find out things than an audience doesn't wish him to know. He continues, 'Tonight I am going to give you an exhibition of just how this may be accomplished.' 'I am going to have several of my audience think of a number from 1 to 10 and with a hit of chicanery I will discover the very thoughts that you will be trying to keep from me.' Asking one party to think of any number from 1 to 10 the performer produces a pack of cards and says, 'While my hack is turned, I want you to count from the deck one at a time, the full number you have thought of and after shuffling this packet place them in your pocket.' The performer turns his hack while this is done. Without turning around again the performer has spectat- or remove cards from the deck until commanded to stop. The performer takes the stopped at card from spec- tator, touches spectator's pocket with it, and asks how many cards are in the pocket which represents the num- ber "being thought of. The party says, for instance, 'Eight.'. The per- former turns over the stopped at card which he is hold- - ing and it proves to be an eight spot. Remarking that many will think it a stroke of luck or a good guess, the performer states he will try it again with someone else and does so several times, the test always being successful. The means for accomplishing this beautiful effect are very simple, although baffling to the uninitiated, and with the proper address can he made into a feature demonstration. The method depends upon a simple arrangement. For- get the suits. Arrange the values from the back of deck towards face as follows; A,2,3,4,5,6,7,8,9,10, repeat this three times more and lastly all pictures cards are placed on the bottom in any order. When the first person thinks of a number, the per- former shows him just what to do. Performer, with cards in hand, says, ' Suppose you thought of three. You would count three cards from the top of the deck, one at a time.' Performer suits ac- tion of his words by doing so. He continues, 'You would then lay deck aside, mix the three cards and place them in your pocket.' The performer noy/ places these three dealt off cards on bottom of pack and hands same to spectator. The placing of these three cards on the bottom from the" top is very important as this is your clue to the first number thought of. This trick works in tens and as you have removed three cards, seven be- comes your key number because three plus seven makes ten. The spectator counts off his thought of number of cards while performer's back is turned. The counted off packet is shuffled and pocketed by spec- tator. Without turning the performer says, 'Without seeing or knowing how many cards you have taken, I will try to discover the number of which you are thinking. Pick up the rest of the pack and remove one from the top for me. Remove another. Another.' The performer keeps this maneuvre up, silently keeping track of the number of cards removed until six are off. The next card, or seventh, is the wanted one. Performer says, 'Place the pack on top of the cards just counted off.' Turning for-the^fif 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 have you there to rep- resent the number thought of?' The spectator says, for instance, 'Eight.' The performer turns the card he is holding face up and it proves to be an eight. The cards from the spectator's pocket are now placed on the bottom of deck. The eight spot perfor- mer is holding is also placed on bottom, and as eight and two are ten, two becomes the key number for the next time. In other words, no matter what the secret number be the next time, the performer knows that the second card will be the one to re- veal the number of cards in spectator's pocket. This can be repeated once more or three times in all. It is possible to do this four times but it is dangerous and not advisable because you are get- ting too deeply into the deck for safety. The only reason for spectator shuffling the cards that he pockets is to destroy the arrangement so that upon removal they will not be seen to have any particular order. G J Z / ^ B s t ^ C & t / THE FALL OF THE WISE There has never been an audience but what con- tained at least one 'wise guy' who was ripe for picking. The success of this effect depends en- tirely upon the apparent clumsiness of the perfor- mer i both in getting ready to do the trick and in the actual performance. The performer has in his pocket the lower and pointed half of a heart pip which he has cut from a card. Ticking up the pack he says, 'I am going to show you the celebrated and much talked about three card monte trick.' 'First I shall remove three Aces from the deck.' He runs through the cards but does not show the cards that he takes out. The performer actually takes out the Ace of Hearts and the two black Aces. He turns his back with the remark that he wants to arrange them. He removes the half pip from pocket and lays it on the Ace of Hearts where the upper pip would be on the Three of Hearts. He covers this half pip with his left thumb but leaves juBt enough protruding below thumb so that it can be seen but apparently unknown to performer. The two black aces are-held-widely-- ... fanned by the right hand and in front of an against the Ace of Hearts. Thus the upper Ace index corner is covered by the left thumb and the lower Ace index is concealed by the right card of the fan. With cards held in this manner he turns and says, 'Here I have the Ace of Clubs, Ace of Hearts and Ace of Spades.' Instantly the wise guy, seeing the slightly visible pip from under left thumb, knows (?) that it isn't an Ace but a three, and immediately clears his decks for action. Performer states, 'I will lay the three cards faces down on the table,*and still holding them turns the fan of three face down. As hands are removed, the left thumb carries the half pip away with it. The performer 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 black aces f^ce up. By this time the wise guy has begun to make him- self useful by remarks and states that he can already name it or words to the same effect. After a proper build up he is allowed to turn it over and receive an object lesson that one should never bet on another man's game. IT IS THE ACE OF HEARTS'. A DIRTY TRICK This is a fine effect to use where you have "been useing a prearranged deck and do not care now if the order "be destroyed. In your vest pocket you have a small receptacle containing powdered graphite or lead pencil' scrapings. Lay"the pack on the table and secure a little of the powder under the nail of your index finger of right hand. Ask someone to cut the pack into two piles. As you say this, make the motion with your fin- ger and tap the table next to the deck where the cut off half will lay. That action leaves a small mound of graphite on the table in readiness. The cards are cut on top of this mound. He is told to remove the card cut at (the top card of the lower half) then to return the cut off portion and shuffle the deck thoroughly minus the selected card. He is then to insert the card he selected and again shuffle. You now take the deck and fanning through look for the one card that will have a smudge on the face of it. This card is not the selected card but because of the fact that the deck was stacked it tells you the name of the chosen one I Just count one ahead in the system being used. Then look through the deck, find-this card- and place it face down on the table. The spectator names his selected card, turns over the one on table and the performer is found correct. With glazed cards, a slight rub of the thumb will remove the smudge. AL BAKER'S STACKED DECK. This is my own original stacked deck and a trial will convince you that many wonderful stunts can he done without complicated adding and subtracting or mental calculations that are so common inmother pre- arrangements. You must first learn the simple ditty, 'Eight Kings threatened to save, ninety-five ladies for one sick Knave.' When you know this by heart you are all ready to arrange a pack according to my formula. Although you use the 'Eight King' ditty, it is put to another use in this way. Whatever number app- ears on the bottom of a group of cards, the next word iA the ditty will tell how many cards are in that group. For instance, if a Nine appeard on the bottom of a group, the performer would say to himself, 'Nine- ty-five ladies,' and the word following nine is five or the number of cards.in that group. Now for the set up of the deck. The ditty is 'for one sick Hhave,' so the first card is a four, for the reason that four is one.because four preceeds one in the ditty. Now, how do we find two? What is before two in the ditty? Ten. So the second card is a Ten. And now what is before three in the ditty? King. So King is the third card. -- -- - According to this rule the arrangement from the top down from one to ten will be 4, 10, K, Q, 9, A, 2, J", 7, 3. This is repeated four times making a deck of forty cards which will be your practise deck. Shuffle cards by overhand cutting until a three appears on the bottom. When a three is on bottom you know the cards are in order. Hold the deck fn left hand in the same position for making the one hand Charlier pass. You explain that you are so proficient with cards that you can instantly tell by looking at them how many cards are cut. You ask him to push down a bunch and you immed- iately name the number of cards pushed down in this manner. You are able, by the manner in which you are holding the deck, to see the index corner of the face card of the pushed down packet. Suppose it be a 7. By thinking of the jingle, 'Eight Kings threatened to save,' the next word is 'ninety' or nine, and you therefore know that either 9, 19, 29 or 39 cards have been pushed down. Your eye instantly tells you which of the four possible numbers it is. Suppose a Queen were to show up on the bottom of the pushed down pack- et. Whatever word follows 'ladies' in the jingle, that is the number of the card. As 'for' follows 'ladies' there must be either 4, 14, 24, or 34 cards in the packet, and surely your eye can't deceive you as to which it may be. Now comes the second step of the operation which changes matters slightly but which is just as simple. Suppose the cards are cut a number of times. In this case the bottom card of the pack plays an important part. Say for instance there is a 9 spot left at the bottom. You remember what follows 9 in the jingle. Five. So we call the bottom card a five. A group is again pushed down. You glance at the index and find a 7. You know that 'ninety' follows 'save' in the jingle so it is a nine. You subtract the bottom card from the one pushed down. Five from nine leaves four. So there are either 4, 14, 24 or 34 cards in the group. If the card pushed down ia smaller than the bottom card you merely add 10 and subtract the bottom card which gives you the correct number. If this rule is followed it becomes just as easy to name the number of cards pushed down as when they are in their natural order. Bringing the cards back to normal by getting any three spot to the bottom, you can readily cut any number called for. Suppose someone calls for 26, You think what precedes in the ditty. 'One' Therefore you know that an Ace is at 6, 16, 26 and 36. So you cut approximately 26 cards and look for the nearest Ace. The above arrangement of 40 cards will be found satisfactory by many performers but there will be a few who will want a full deck of 50. With this prin- ciple it is impossible to have 52 cards. It will have been noticed that the fives, sixes and eights were left out. Place the four fives on the bottom of the deck in a suit order that you will remember as one, two, three and four. Follow these with the four sixes in the same suit order and call them five, six, seven and eight. Follow these with two eight spot and ca]l them nine and ten. This makes just another group of ten cards and the principle remains the same. When the cards are normal they make very little difference if any. When the deck is cut and one of this group shows up, its' own number is used and the jingle forgotten in this particular case* For example, suppose you were using Hearts, Clubs, Diamonds, Spades for your suit order. Then the Five of Hearts would he 'one; the Five of Clubs would he 'two'; the 5D would he 3; and the 5S would he 4; the 6H would he 5, etc., up to the 10th card which would he the 8C. If the pack were cut and the 6D appeared on the bottom you would instantly know it as 7. Subtract 7 from the jingle value of the card pushed down and you have the same result as with the 4C card deck. In my book (Al Baker's Book) there is an effect titled 'A Card and a Number' which uses a prearranged deck. This stack simplifies matters greatly and is a perfect arrangement for that particular trick. THE ONE I LIKE This trick is an object less for all performers. It is a case of getting something from nothing. It is purely an off hand effect that you can do whenever the occasion presents itself and needs a mantle, a shelf or some place where objects can be placed above your head. Take two objects that may be handy and place them on the shelf about half a yard apart. Have a spectator stand facing them and ask him to look at them for a minute. He is to decide upon one of them while your back is turned, take it down, say to himself 'I like this one best' and then replace it. The performer then turns around and looking at him intently for a second, indicates THE ONE HE LIKED BEST'. The method is simply the old principle of blood- less hands. The spectator faces two objects above him. He takes down one or the other and then replaces. The mere action of this causes the blood to leave the hand used and at a glance the performer knows which hand was used because of the whiteness. This is merely to show that no matter how old and simple a principle may he, it can be dressed in a manner that makes it new, and with proper presentation become a modern miracle.
Developing Reading Skills A Practical Guide To Reading Comprehension Exercises Cambridge Language Teaching Library by Francoise Grellet 1981 Paperback From Cambridge University Press B0118269ia PDF