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Tho State Library of Victoria


Al Baker.
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
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
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
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
The envelope marked 'BLUE' is now placed on
another inverted tumbler or placed somewhere in full
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
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.
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
C t Z
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
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
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
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
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 /
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'.
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
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.
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-
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
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.
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.