In my experience, this technique can either be performed quickly or quiedy but not both. I opt for quietly, which demands that you perform it slowly. In part because the move must be performed slowly, both hands remain in contact with the packet for a fairly extended period. Such moments are always problematic, as there is nothing for the spectators to watch except the hands. In this case, because there is another action taking place (the removal of the Spades), the problem is ameliorated, but not completely eliminated. Separating the initial extraction from the
Your left hand re-takes the packet into Dealing Grip. The left first finger must rest across the front of the packet, where it remains in contact with the right fingertips, to help screen the action of the move. Lower the right side of the lower portion of the packet—that is, all the cards below the clipped card—treating the left edge as a hinge (Figure 179). As this occurs, the right fourth finger applies upward pressure on the corner of the clipped card. These two actions combine to cause the left side of the clipped card to move downward. Eventually, the left side of the card will drop far ^ y^
the lower packet (Figure 180). At that point, the fingers of the left / ^
surface of the card, causing it to turn over, side for side, onto the i lower packet (Figure 181). When J P^NSo)
this turnover is complete, the lower ' y ^Ssy packet can be reunited with the , i/
upper packet, trapping the reversed |
card between them. You can then ---
finish squaring the packet, which completes the sleight.
Reversal divides the time during which both hands are in contact with the packet into two shorter periods. The first, covered by the squari ng of the packet after it is picked up, allows the extraction and moving of the card into the right-hand Clip Position. I have found it best to wait until the spectator is nearly finished removing the Spades before bringing the hands together again to do the Reverse, and I call attention to the spectator by asking, "You're done?" when you know he's not. Under that cover, the Reversal can be completed. The Future Reverse, in my opinion, is neither completely invisible nor indetectable and, therefore, requires heavy misdirection.
Let's also recognize that the Spade removal process requires well-developed skills in audience management. If you don't have such skills, you are well advised to remove the Spades yourself. This isn't as strong as having an audience member do it but, done quickly with an air of insouciance, it will still play well. The problem with doing it yourself is that it eliminates your opportunity to perform the Future Reverse. This requires that you do the Reverse before you begin the removal process. This is not an insurmountable problem but I have found it better to use Ken Krenzel's Square Reverse (Afterthoughts, 1975, page 95) because of its rapidity. If you aren't comfortable with managing the spectator's removal of the Spades or with the misdirection necessary for the Future Reverse, I recommend the Krenzel sleight. Since this sleight is not well known, I'm including a brief description.
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