Flipover Flush

The four Aces turn face-up one at a time. In doing so, they also locate four other cards that make up a Royal Flush in Spades.

Have the Ten - Jack - Queen - King (all Spades) on top of the deck, with the Ten on top. The Aces are scattered throughout the deck, but the Ace of Spades should be closest to the face.

WORKING

1. Upjog the four Aces, then do SRS, which leaves the Aces face-up on the bottom of the deck. Deal the top four cards into a row on the table, calling them the Aces.

2. Pick up the left hand Ace (?), place it on top of the deck and do Marlo's "Reverse Double Undercut" (Alton Sharpe's Expert Card Conjuring, p. 56) to make the Ace apparently turn face-up. For that, you simply Buckle the bottom card to get a little finger break over it. Then pick up the deck from above with the right hand, picking up the break with the right thumb. Swing-cut the top half of the deck into the left hand and bring the left hand under the right, which picks up the card from the break; then immediately cut all the cards above the break to the bottom. If the whole move flows, it appears that the Ace pops face-up out of nowhere. Take the Ace plus the next card and place both on the table.

3. Repeat the previous step three more times.

4. The four Aces are now face-up on the table, each with a card underneath (Fig. 1 - audience view). Take away the three leftmost Aces (all but the Ace of Spades) and set them aside. Push the Ace of Spades to the right, then turn over the cards from right to left revealing a Royal Flush.

Alternatively:

As an alternative, leave the Aces in the deck as they are revealed. Each time, simply put another Ace (?) face-down on top, and Reverse Double Undercut the bottom face-up Ace to the top. At the end, spread to show the four Aces with cards between, then take all eight cards out of the deck (i.e., including the card underneath the last Ace). At the end, remove the Ace of Spades and use it to flip-over the spread, revealing a Royal Flush.

Note: Marlo was shown this undercut by Bert Fenn in 1946. Fenn, in turn learned it from Bob Haskell. The use of it for an immediate production of face-up Aces was a staple of Marlo's act, frequently the opener.

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