EFFECT: A card is selected and replaced so it is protruding more than half of its length from the upper left corner of the deck. Drawing attention to the deck, the performer states that just by waving his hand, the protruding card will visibly turn face up, while it is still locked inside the facedown deck. However, much to everyone's surprise, the selected card does NOT reverse itself.

Instead, The entire deck reverses itselfaround the still face-down selection!

COMMENTS: Jim Lewis is a talented magician from Hollywood, CA. He handles very difficult sleights with complete ease and the material he uses is always of the highest caliber. In his hands this routine is shockingly deceptive. However, the handling he has developed is not easy, and the angles limit its performance to one or two people at a time. It is beautiful in Jim's hands, but I feel the majority of magicians wouldn't use it. Fortunately, the concept is custom made for variations. So what I'll do is describe several versions I have evolved, and also an excellent handling which Piet

Forton has developed.

PROCEDURES: For the basic inversion effect the set-up must be that a selected card is reinserted into a deck which is entirely face up except for a single card face down on top. This can easily be achieved by having a reversed card as it is spread for the selection. As they are looking at the card, you simply turn the deck over during some gesture. (Jim uses the method on page 112 of EXPERT CARD TECHNIQUE.) The selected card is then replaced in the face-down deck, and left outjogged. From this point I will describe Piet Forton's handling of this wonderful concept.

FIGS. 1 and 2 should make Pief s method clear to you. You explain that just by shaking the deck, the card will reverse itself. The second time you shake the deck, all you need to do is to quickly palm the top card in the right hand. Pause a beat for the effect to sink in, and then grasp the right hand as the left thumb begins to push off cards in order to show that the entire deck is now reversed. This replaces the original reversed card back into the deck in the proper direction. You've just completed a very quick and you finish clean.

SECOND HANDLING: I worked out this handling so I could begin impromptu and work from a peeked card. After the card has been peeked, it needs to be controlled to second from the top of the deck. I use the Side Steal with a Top Card Cover (see page 58). This is done by kicking the card out of the deck with the left little finger (FIG. 3, right hand removed for clarity). This card will NOT be taken into a full palm position. Instead, it will be held by the index corners by the right little finger and thumb. At this point the right index finger will buckle the top card slightly (to insure only 1 card is removed), and the hands separate slightly (FIG. 4). The lefthand turns so the right index finger can point at the front of the deck (FIG. 5). 'You 're card is about halfway down in the deck, • m going find it in a most unusual way. Since every card in this deck is at my command, all 1 have to do is give the deck a little shake and it will shoot out from the deck for about half of its length."

As this is being said, the hand turns back up, but does not square the selected card back up. What happens is that the left hand takes the selected card, and does a half pass under cover of the top card (FIGS. 6 and 7). Therefore the top card acts as cover for the side steal as well as the half pass. This handling is very direct.

The situation now is that the deck is face up except for the top card, which is face down. The selected card is at the bottom of the deck You now do the J. K. Hartman Popover move, which places the card into the perfect position (with only a slight adjustment) for inversion. I do this because I'd like to first FIND the selected card before I go into inversion. Also, the card pops out face down, and this helps to sell the idea that the entire deck is face down.

The Popover move begins by grasping the deck from above in the right hand (FIG. 8). The pads of the right fingers begin to move the bottom card to the right until it clears the thumbtip. Now the left hand enters the space between the selected card and the deck (FIG. 9). The left hand grasps the lower half of the pack, and two actions take place at once. The right index finger lifts the upper half slightly as the left hand slightly lowers its half. The pads of the right fingers cause the card to flip over so that it instantly appears face down in the middle of the deck. FIG. 10 shows this pretty revelation taking place.

' 'N(/u all I have to do is pass my hand over the deck and your card V;-id reverse itself while it is still trapped in the center of the deck. Watch closely!"

Of course you are now set up for the Inversion effect You can use Pief s handling, or you can do as I do, by side stealing a card and simply doing a color change across the face of the deck This is very visual, and all you need do is to be careful not to flash the reversed card second from the top as you display the now face-up deck.

THIRD HANDLING: The most visual handling of Inversion I've developed makes use of the Cardini Snap Change. After you set up for Inversion the left index and little fingers get a break under several cards (from 2 - 15) (FIG. 11). This is done under cover of the right hand. The right index finger flicks the deck as shown in FIG. 12. As it does, the left fingers quickly open to reveal a startling change (FIG. 13).

In the original handling, the deck is then grasped by the right hand as the left fingers pull the packet back underneath the deck and squares up. However, I've found it to be very effective if the right hand takes the packet between the middle finger and palm as in FIG. 14. Pause for this very visual effect to sink in and then complete the move as shown in FIG. 15. This was developed independently by me, but the idea is so logical that I'm sure someone else must have thought of it also.

I have given you several handlings of Jim's wonderful Inversion. You will find that there are many others, I'm sure. You can get into it by using Ken Krenzel's Mechanical Reverse if you like, and you can also do Inversion under several cards. In any case, play with it.

The Linking Headbands was one of the effects that almost every Russian magician wanted to learn

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