Setup The four Kings are on top of the deck in any order. Handling And Performance | ||||||||||||||||||
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| Performance Notes With practice, and attention to angles, the opening can be minimized. As stated above, it's easy to do and great to know. | ||||||||||||||||||
By Doug Edwards Setup The four Kings are on top of the deck in any order. Handling And Performance | ||||||||||||||||||
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| Performance Notes With practice, and attention to angles, the opening can be minimized. As stated above, it's easy to do and great to know. | ||||||||||||||||||
By Doug Edwards Setup The four Kings are on top of the deck in any order. Handling And Performance | ||||||||||||||||||
| ||||||||||||||||||
| Performance Notes With practice, and attention to angles, the opening can be minimized. As stated above, it's easy to do and great to know. | ||||||||||||||||||
The magician spreads a deck of cards. The spectators removes a card at random and looks at it. The spectator returns the card to the deck. For the magician it is only a question of time before the selected card is revealed.
The Quick Key is a useful dodge to keep in mind, especially if a more elaborate effect starts to go wrong as the spectator returns the selected card to the deck. It is also handy for practicing the classic force.
Setup
Sight the face card of the deck. If there is a crimped, breather or short card in the deck, move it to the face of the deck.
Handling
Square up the deck, sighting the face card. Spread the cards, asking the spectator to select one. Once the spectator has the card, square up the deck. Under the squared deck, the fingers pull back to expose as much of the face card as possible.
Spread the cards, asking the spectator to return the card to the deck. As the cards are spread, the right finger tips contact the face card and pull it to the right. As the spectator pushes the card into the deck, lift the top stock, including the face card. Drop the top stock onto the returned card and square up the deck.
Presentation
As you approach a spectator, spread the cards between the hands, asking him to remove a card at random. When he's holding the card, move your hands back slightly and close up the fan. Tell him to look at the card and remember it.
Move your hands towards him again, spreading out the cards and tell him to replace the card in the deck.
As you begin to spread the cards, push the deck towards the tips of the left fingers, thumb on top. The right hand moves over to receive the spreading cards. In doing so the right finger tips extend under the cards and contact the face card of the deck.
At the moment the spectator starts to push the card back into the fan, pull the right hand to the right, taking along all the cards above the spectator's returning card including the face card of the deck. Immediately drop that stock on top of the spectator's card and square up the deck.
The selected card is now directly under the sighted card. Any number of cuts won't disturb this arrangement.
The revelation should be proceeded by at least a few seconds of build up. For example removing three cards from the deck, placing them face down on the table and deciding which is the spectator's. Or spreading the cards haphazardly on the table and seeming picking out the card at random.
Performance Notes
Work on this until it can be done without thinking about it. The spread cards cover the action. It can be practiced during performance by doing it when it isn't needed.
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