Now. with your right hand, draw the outjogged card from the packet and show that the ace of spades has changed to an indifferent card. Flip the card face-down onto the packet, and deal the five cards as four (using the snap-down deal) onto the face-up pile of previous discards.
The ace of diamonds remains to be vanished. Pick up this pile and backspread three cards, forming a four-card fan, as you have with each of the previous packets. As before, the fourth indifferent card remains hidden beneath the ace. With your right hand, remove
the double card from the fan. Then, with the left fingers, flip the fanned cards face-down, letting them fall squared Into dealing grip.
Lay the face-up double card onto the left hand's packet, injogged about one inch. Then, with the right fingers, draw the bottom facedown card forward and remove it from the packet. Immediately lay this card onto the face-up ace, injogged about an inch farther to create a lengthwise spread.
Now reposition your right hand palm-down over the packet, in preparation for the Vernon alignment move; that is, station the right thumb on the inner end of the top card, the tip of the right forefinger on the back of this card, and the tip of the right second finger on the exposed portion of the face-up ace of diamonds (Figure 234). Then move the right hand forward, sliding the face-down top card and the face-up ace over the packet as a unit. As you do this, the right thumb will hit the inner end of the face-up indifferent card that was hidden below the ace. Do not hesitate at this point: continue moving the right hand forward, now pushing the top three cards along—but also use the right thumb to lift the inner ends of these cards slightly, forming a break beneath them as the top and third cards slide flush with the bottom two cards of the packet. Halt the right hand's movement when the bottom two cards hit the right thumb, and take over the break above them with the left fourth finger. At this point the ace of diamonds should be outjogged about an inch, second from the top of the packet. Position the tip of the left forefinger at the outer end of the ace.
Retract your right fingers to the inner end of the packet and grip the cards above the break, pinching them between the thumb, below, and fingers, above. Draw the top card and the face-up indifferent card beneath it inwar d, while keeping the outjogged ace stationary by applying pressure with the tips of the left fingers and thumb to the sides of the packet. This action strips the ace from between the right hand's two cards, but to the audience it should appear as if you are only drawing the top card back and away from the packet.
Rest the outer end of the right hand's double card on the inner end of the ace (Figure 235). You will next perform the Vernon paintbrush color change, with the ace outjogged on the packet: Slide the double car d forward, gliding it over the face-up ace until it hits the tip of the left forefinger, which still lies at the outer end of the ace. Draw the double card back, returning to the position shown in Figure 235 and exposing the ace once more. Repeat this brushing action with the double card. Then do it a third time; but the instant the double card is square with the ace, pull back with your right fingertips on the top card of the double, pinching it more deeply between the thumb and fingers. Use the tip of the right thumb on the inner end of the lower card to keep it stationary as the top card is drawn inward, and immediately tighten the left hand's pressure on the sides of the cards to hold the face-up indifferent card square with the ace. Then, without hesitation, continue to draw the top card inward, lightly brushing it over the face of the indifferent card. In doing so, you create the illusion of an instant transformation of the ace.
Snap the right hand's card face-up. Then, with the right fingertips, clip the outjogged double card under this card, injogged for roughly an inch, and remove it from the left hand's packet.
In a continuing action, flip the left hand's two cards face-up and push the upper card of the two forward; then place the right hand's cards onto this pair, completing a lengthwise spread of four cards. Pause only briefly, to let the face of the four indifferent cards be seen; then close the spread, flip the packet face-down and deal the five cards as four, face-up onto the tabled pile. Again, the snap-down deal and two-card push-off are used to hide the ace.
Casually square the face-up pile of twenty cards and drop it facedown onto the balance of the deck. The ace of clubs now lies third from the top, the ace of hearts eighth, the ace of spades thirteenth and the ace of diamonds eighteenth.
Pick up the deck and give it a quick series of overhand shuffles: first run five cards and throw the balance on top; then run six and throw the balance; again run five and throw; and finally run seven and throw. If you like, you can follow these runs with a jog shuffle that preserves the order of the bottom half of the pack.
Now give the deck one perfect in-faro shuffle. This sets the aces for spelling. They are produced in CHaSeD order, just as they were vanished. Spell A-C-E O-F C-L-U-B-S first and turn up the card following the S. Continue to spell each of the aces in turn; all four consistently appear after the final letter of the suit.
That concludes "Collinspell". However, before leaving the topic, it might be mentioned that, if all four aces lie in CHaSeD order on top of the pack, they can be positioned for spelling by first giving the deck three in-faros, then by overhand shuffling to this pattern: run eight cards and throw the balance on top; run twelve and throw the balance on top; run eight and throw the balance on top; then run fourteen and throw the balance on top. The cards are now set to spell the aces in clubs-hearts-spades-diamonds order. This is merely a curiosity as it stands, for the shuffling is too laborious to be deceptive. Yet, the knowledge might eventually prove useful.
In the next trick, Mr. Elmsley applies faro techniques to another classic ace effect, this one by Henry Christ.
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