## Bluefield Debut

EFFECT: The magician begins by having a spectator think of a card. He proceeds by telling the spectator exactly where in the deck the card lies. Finally, he cuts to exactly that card. Continuing, the performer says, "I'll do something else with your card. 1'ttl going to place it in the middle of the deck. However, just by brushing your card, it comes back to the top, ¡u-'"-hp. Not only is >.'. face up, but it now has a blue back." (The deck being used is red.)

"Actually your card didn 't change color, it changed places with the twin prediction card that I had placed into the card box earlier." The performer removes the red-backed, thought-of card from the box as this is said. The performer insists that it didn't matter what card was originally chosen. To prove this point, another card is selected. After rubbing the second selection across the blue card, it changes into the second selected card!

COMMENTS: The name of this !.-iiVreflects its origin. k^ direct outgrowth of Frank Everharf s "Chicago Opener." I've altered considerably the presentation and handling for maximum impact. It is commercial. The routine "builds" so that by the end of the routine, the audience believes you can do anything with a deck of cards.

PROCEDURES: To begin, place the card box off to the right, closed, with the half-moon facing up. A blue-backed three of hearts is on theiaceof the deck, followed by two odd cards, then the red-backed three of hearts, and finally the rest of the red deck. Hold the deck squared and face down.

Say, "I'm now going to read your mhtd. just think of any card in the deck. So everyone here will know what card you thought of without you saying it aloud, I'll tUtt through the deck and ask you to pull it out."

Fan the cards face up. Be careful not to spread the bottom few cards. Though the backs of the cards are toward you, you may want to turn your head to emphasize the fairness of the selection.

Say, "Haveyou shown it around? Fine, now as 1 shuffle the deck, please drop your card anywhere." After the spectator has showed the card to others, hindu shuffle the deck as he returns his card (FIGS. 1 and 2). As soon as the card is

placed on the portion, drop the remainder on top of the selected card. This positions the blue-backed card directly above the selected card. You can now mix the cards as much as you like as long as you don't disturb the five card block running from the selection through the red-backed three of hearts. Keep track of approximately where this block lies.

Say, "Not only will 1 determine what card you thought of, but 1 will also tell you it is exactly (for instance) seventeen cards down from the face of the lam right, that would put your card in this general area."

Since you've followed the block in the deck during the shuffle, it is a simple matter to estimate the approximate position of the chosen card.

Turn the deck face up and, going from the face, quickly spread until you see the first three of hearts, which will be blue-backed. The spectator's card, of course, will be directly to the right of the blue-backed three. You can only reveal two more cards beyond this first three of hearts without flashing its duplicate. You do this as you the "...general area" the card occupies. Don't reveal the card yet or you'll make this just another "key-card" effect. Just let the audience know thatyouknow approximatelywhere it is, so you can next impress them as you cut exactly (?) V7 (use whatever appropriate number... here it's seventeen) cards aside to reveal their selection. Say, "Your card is close by here, isn't it? Good/'

All you really need to do is get a break above their card and double-cut it to the face of the deck. However, you want to emphasize the fairness of the cutting process, so you must convince them (without saying so) that the deck has been fairly resquared. You do this by slightly injogging the card above the selected card as you square up the deck. The top of the deck is slanted toward the audience to hide the injogged card. Hold the deck by its long sides and riffle with the thumb. This is a Mario idea, I believe, and it allows you to be very fair and natural. This heightens the impact of cutting "exactly seventeen cards." As you cut, simply say, "in the process of cutting your card, the card you thought of comes straight to the top."

After a quick acknowledgement of the card having been brought to the face of the deck, mention that you will do something else with this card. Do a triple turnover. Turn the triple face down (the thought-of card, the blue-backed three of hearts and an odd card). Now place the supposed thought-of card into the center of the deck (actually the odd card) while turning the deck face down to keep the blue-backed card unseen (FIGS. 3 and 4). The deck is now squared.

Now you are going to perform an "almost flourish" as you cut to his card face up. Hold the deck face down in deal

ing position in the left hand. Get a break above the bottom two face-up cards (blue-backed and selected card) with your right thumb (FIG.

5). The right forefinger kicks over half of the deck off the top into your left hand (FIG.

6); the right hand packet now skims over the top of this packet from side-to-side and lightly deposits the two faceup cards (FIG. 7). This is a variation of the paint brush change. Assemble the deck so the selection is on the top (left half on top of right).

Double lift to reveal the thought-of card with a blue Place this card face down on the table. If there is no table, drop thecardan the floor. Do not hand it to someone.

Immediately palm the top card of the deck in the right hand as you set the deck aside (FIG. 8, exposed view of hand moving toward box).

Pick up the card box with the thumb at the back and fingers at the front (FIG. 9).

It is ^¡ponniii that your left hand brings theboxup to meet the card, rather than bringing the card down to meet the box (FIGS. 10 and II).

Once the card is flush with the card box, the left hand continues turning palm-down with the box and card. The left hand is held with its back upward; the fingers align the card under the card case as the right hand opens the box (FIG. 12) and "removes" the card (FIG. 13). The illusion of the card coming from the box is perfect. I learned this "box loading" technique from MARLO'S DISCO VERIES.

Drop the card face up so as to overlap the tabled blue card. This keeps someone from examining the blue card prematurely (after the routine is over, they will swear that they saw both the blue and red backs as the thought-of card).

At this point the red-backed three of hearts is second from the bottom. Cut the bottom card to the top and force the bottom card using a one-handed bottom deal or any convincing force.

Say, "You're probably asking yourself what might have happened had you not thought of that card, since it's the only contrasting colored card around. It's simple, i n have done a different trick! To give you some idea of what might have happened, I'll just dribble the cards down and you stop me on the card you want. This one? Fine." The one-handed force is executed at this point.

Continue, "Had you thought of the three of hearts before you thought of the - of -, I'd have rubbed the blue card here and they would both be the three of hearts. So it really doesn't matter which card you think of."

Using the force card (red three of hearts), with its face showing, scoop up the blue card. Then rub the two cards together, face-to-face, and with a dramatic pose reveal they are both three of hearts.

When you try this, you should pace one climax upon another. If you do, I'm sure you'll see why this routine astonishes laymen as well as magicians!

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