Scapegrace Press

since 2005
Post Office Box 602
Corsicana, Texas 75151
www.magicbybobwhite.com

Copyright © 1997, 2003, 2005 by Robert H. White

All rights reserved.

Fourth Edition
2005

Cover by Jared Kopf and Bob White

“White’s Comments” by
Bob White, Jared Kopf, and Tom Gaudette
Designed by Jared Kopf
 Preface

This book began as a set of lecture notes for Bob’s first seminar in
1997. Since then, it has been reworked several times by Jason
Womack, including his addition of a complete new section of effects in
the summer of 2003. This edition, however, is the first to be illustrated
with photographs and contains comments and essays by Bob not
included in any of the earlier manuscripts.

I encourage you to study the text carefully and refer to James

Robinson’s excellent photographs because what follows is not merely
a series of moves put together to form various routines – each motion
has been critically considered by Bob to maintain uniformity and
naturalness. Study diligently, and your efforts will be rewarded.

Jared Kopf
August 1, 2005
 Contents

Foreword 1
Author’s Introduction 3
“Uniformity of Action” by Bob White 5
“Some Things are Important” by Bob White 9
“Some Random Thoughts” by Bob White 11
Erdnase Quotes on Presentation 13
“Handling a Single Card” by Bob White 15
Flash Double 17
Gemini Count Alternative 20
Magic Cards 22
Ace Transposition 23
False Count 24
Twenty Card Trick 26
Small Packet Palm 28
Managing Depth Illusion 30
Double Card Change 31
Bob White’s One Hand Tilt 33
Lie Detector 36
Slow Motion Jazz Aces 38
Revisiting E. G. Brown’s Spelling Trick 40
Pressley Guitar’s Two Copper & Silver 43
Torn & Restored Tissue Paper 45
Introduction to the Supplements 47
Ambitious Classic Revisited 49
Bob White’s Skip Trick 53
Ladies & Gentlemen 55
Copper & Silver Transposition 57
Homing Card 60
 Foreword
“The slightest action that appears irregular, the least effort to distract
attention or the first unnatural movement will create suspicion; and the
mere suspicion will deplete the company. . .”

The true student of the art and craft of natural sleight of hand will
recognize the words above as wisdom from the pages of The Expert at
the Card Table. The mysterious author of this tome lived at the turn
of the century and was a practitioner of advantage play at the card
table, the dark cousin of modern magic. If Erdnase were to travel to
the central Texas town of Corsicana, I am sure he would love Bob
White’s magic. Bob’s devotion to Erdnase’s concept of uniformity of
action sums up the value of the notes before you.

I have been fortunate over the years to be one of the very few that
have had the benefit of learning Bob’s unique approach to magic. His
guidance has been invaluable to my development as a performer and
as a professional. I know of no one who has learned more of what
Bob has to teach than Jason Womack. Jason accepted the monu-
mental task of sorting through Bob’s notes to select the material that
most closely demonstrates Bob’s approach to magic. I am sure that
coaxing the details of Bob’s magic from the written word was no easy
task. My review of an advance copy of the notes convinces me that
Jason was successful.

It is my purpose in writing this foreword to thank Bob and Jason

on behalf of the magic community for putting in the time and effort
necessary to share these pages with us. Entertaining magic is, after
all, a Matter of Style.

Kevin Oliver
June, 1997

1
 Author’s Introduction

This manuscript contains no new effects or exotic moves, so some

readers may wonder why we have decided to commit these effects to
paper. Contained in these pages, is a system of magic. These effects
demonstrate how Bob White has dealt with and conquered the
problems inherent in presenting magic. Uniformity of action and
economy of motion are chief concerns. I have attempted to draw these
concepts off the page and bring these concepts to the forefront. Bob
has refined several of these effects through countless performances
and over twenty five years of professional experience. We wish every
student of magic would take a careful look at how these concepts are
adapted to the tricks presented here and apply these concepts to their
own effects and handling. Bob has spent many years laboring over
the effects presented in these pages, and now you benefit from his
work. If this is your first exposure to Bob White’s magic, I encourage
you to pore over these pages and study them carefully. I envy your
task.

Jason Womack
June 5, 1997

3
 Uniformity of Action

“The inviolable rule of the professional is uniformity of action. Any

departure from the customary manner of holding, shuffling, cutting or dealing
the cards may be noticed, and is consequently avoided . . . Whether the
procedure is true or ‘blind,’ the same apparent action is maintained
throughout.”
____ Expert at the Card Table, 1902

The professional card sharp can deal a card from the bottom of a pack
as effortlessly as from the top and the keenest eye can not detect the
slightest difference. Furthermore, during ordinary play, the recipient of a
card from the bottom of the pack is no more expecting such an event than
he is being struck by lightning.

Members of a magician’s audience harbor some suspicions of “a little

cheating” going on by the mere fact they witness demonstrations that defy
logic. The card magician’s tacit declaration to fool the audience makes him
suspect and subject to close scrutiny. Should card tricksters adopt the
philosophy and self discipline of the sharps, card magic would be elevated
beyond our wildest dreams.

Volume upon volume has been written on the “how to” subjects with
ordinary playing cards. Paying particular attention to the uniformity of
action is generally a minor detail in most compositions. However, this
subject is a crucial one. Its implementation helps eliminate suspicion in the
minds of the spectators. Connecting the dodges of showing two or three
cards as one, the Gemini Count, Top Change, varied false counts, etc., with
a common link of uniformity strengthens our overall ability to deceive the
already suspicious crowd.

The thought often occurs to me how much effort I spent in my formative

years practicing esoteric sleights and skillful novelties. Most have served
little purpose into my enlightenment on the subject and even less in utility.
For the most part, my time and practice was wasted. In retrospect, I must
confess they provided some amusement and self satisfaction by answering
the call. However, I made the serious mistake of trying to learn everything
and mastering nothing.

5
 Should I be assigned the same task again, I would try to avoid diversion
and strictly follow the fundamental guidelines to natural sleight of hand.
Unfortunately, it takes time, considerable research, some personal
experience, and tutoring from the more knowledgeable to distinguish the
vast difference between the mediocre and the excellent. I am convinced the
bounty from the pursuit is not the broad knowledge we accumulate. On the
contrary, it is the mastering of a few fundamentals and applying them
correctly that enable us to truly deceive an audience. I have considered
uniformity of action as one of the leading requisites in my quest for natural
sleight of hand, especially with cards.

There are a good many effects and routines I have seen spoiled by some
irregular handling in showing two playing cards as one, counting five cards
as four, counting four cards as five, and the like. When these ploys are
used, the cards are actually being prominently displayed to the audience.
They are “open” moves. We are trying to demonstrate with certainty that
which is not true at all. Furthermore, the audience is watching carefully
and little, if any misdirection may be employed. Should these maneuvers
look anything other than perfectly natural, any intelligent person in the
audience will suspect trickery of some sort. I am of the opinion the best
way to conceal the truth of these matters is to follow the advice offered to
gamblers from The Expert at the Card Table and apply the recommendations
to the ploys in our arsenals.

Incidentally, the two-handed pass, card palming, and moves of this

variety are unpublicized moves. They are “secret” moves. They are
executed unbeknownst to the audience rather than in full view and are
easier to secrete under misdirection of some form. However, the mere fact
the audience may be mentally or visually misdirected and fails to catch the
occurrence does not suggest the moves may be done less expertly.

I have made an effort to maintain a low profile among my fellow

magicians and have had little interest in displaying the knowledge I have
accumulated in the past thirty years. I still consider myself a student of the
art and have never ceased looking for superior methods to present effects in
the most perfectly natural manner possible. I have tried to find a style of
handling playing cards that is naturally suited to me and creates no
suspicion in the mind of the spectator. Consequently, I have made an
attempt to analyze and refine some of the fundamental principles of card
magic which are absolutely correct and give them some uniformity of action
to suit the purpose.

6
 The various techniques are logical and the style is compatible with the
way most handle playing cards when they are not trying to do a contrived
maneuver of some sort. Their utility is far reaching and many of these
techniques have served me for over thirty years. On many occasions, they
have caught the well posted card magician off guard for one reason or
another.

These methods were not designed with the novice in mind. However, a
beginner may find a deeper insight into what he is trying to accomplish by
considering the theoretical reason for the techniques. I have taught bits
and pieces of these methods to others who are experienced in the basics,
and they have had little or no difficulty making any transitions.

I am not naive to the fact that this offering, like any other, will be judged
by the reader. It is my genuine wish that the information submitted will be
enlightening and will find a place in your arsenal of deceptions. My sole
motivation for releasing my thoughts on this subject is to make a
contribution to elevating the art of magic.

Bob White
December 12, 1996

7
 Some Things in Magic are Important and Others are Not

The “information explosion” is everywhere. Computers connected to the

internet are in practically every household, and an avalanche of information is
available. Business, sports, fashion, photography, current events, or any other
field of interest are available at the fingertips. And, anyone can do it. Gathering
information is no longer a difficult task. What is tough is sorting through this
vast array to find what is important and fits your requirements. Magic, and
especially sleight-of-hand magic, is no different.

More information has been written on this vast subject since 1980 than had
previously been written in the history of the world. Some of this information is
good, some mediocre, and some may be well intentioned, but off the mark. Once
you have made a commitment to sleight-of-hand magic, you have to decide where
to begin. If you aspire to excellence, the first and probably most important step is
to decide what you need to learn. Some things in magic are more important than
others so you might as well concentrate your efforts where they will do you the
most good.

Suppose I could teach you a technical move that required real study and
laborious practice to perfect. Suppose I promised this move was absolutely fool
proof and it would work perfectly every time you used it. Have I piqued your
interest?

What if I also told you this technical move worked only under special
conditions, and those circumstances occur only once a year. Do you still want to
invest the time to learn it? (An example of this is the Diagonal Palm Shift described
in Erdnase.)

A lot of magical technicians and theorists love this sort of thing because
complex ideas can be very interesting. Some teachers and writers of magic
devote a substantial amount of time teaching and writing about esoteric, but
inconsequential, concepts and moves.

Conditioning an audience, justification and motivation for some move, the

moment of magic, and half moves, etc., are examples of advanced magical theory
and can become distracting and thought consuming to those trying to become a
good magician. Should you even bother to learn them? Of course, but only after
you have learned the fundamental sleights, sound basic theory, and how to
manage them in an engaging manner that charms your audience.

9
 Some Random Thoughts

1. Learn to draw the audience to you. Create interest in what you are about to
show them. It is like good writing. Your opening statements must get the
attention and interest of your audience. Say something like “Practically
everyone plays cards nowadays, but very few people know. . .”

2. Nothing is more ludicrous than taking inventory of the obvious! Should you
place a copper and silver coin on a table, you need not ask the spectator which
one is the silver coin or “Now what do you see?” Also, avoid redundancy. You
do not need to repeat a simple fact two or three times. Express yourself clearly
once. Plan your presentation in advance. Your presentation is more important
than the trick.

3. Make an effort to avoid proving anything. Don’t reach into your pocket with
two fingers to prove you don’t have a card palmed. No one reaches into a
pocket with two fingers in any event. The audience is ignorant to the principles
of magic and we should make every effort to keep it that way.

4. When repeating an effect like the ambitious card, do not say, “I will do that
again.” Those statements are trite. Say something like, “No matter how closely
you watch, it is impossible to see Queen of Hearts come to the top of this pack. . .”
Make your presentations you oriented instead of I oriented.

5. Never put your hands on display and avoid handling props as if they were
precious objects. Coin rolls, pressure fans, one hand shuffles and cuts,
spinning cards on your fingertip or a wand around your thumb, etc., distract
the spectators’ attention from the focal points of the tricks you are presenting.

6. Refrain from being a smart mouth, cracking wise, or trying to be funny while
presenting a trick of some sort when you are not naturally funny. Anyone who
is not naturally funny, and tries to be, looks foolish. It is not difficult to amuse
someone with some foolish little trick. So, do yourself a favor, take the
opportunity to be a perfect gentleman and use a little Continental charm. It is
better to create humorous situations with magic.

7. Use correct English and structure a fitting presentation. Be descriptive in a

conversational manner. Say, “Now, I will place the card you named, the ace of
spades, face down on the table” instead of “I will put that card over here.” Read
the book On Writing Well by William Zinsser. His book will help you prepare
your presentations. Be selective with every word you use.

11
 Erdnase Quotations on Presentation

The mere ability to execute the sleights by no means fits him for
the stage or even a drawing-room entertainment. In this phase of
card-handling, as with card-table artifice, we are of the opinion that
the less the company knows about the dexterity of the performer,
the better it answers his purpose. A much greater interest is taken
in the tricks, and the denouement (final resolution of the plot) of
each causes infinitely more amazement, when the entire
procedure has been conducted in an ordinary manner, and quite
free of ostensible cleverness at prestidigitation. If the performer
cannot resist the temptation to parade his digital ability, it will mar
the effect of his endeavors much less by adjuring the exhibition of
such sleights as palming and producing, single-hand shifts,
changes, etc., until the wind up of the entertainment. But the
sleights should be employed only as a means to an end. Page 127 –
128

The amateur conjurer who is not naturally blessed with a “gift of

the gab” should rehearse his “patter” or monologue as carefully as
his action. The simplest trick should be appropriately clothed with
chicanery or plausible sophistry which apparently explains the
procedure, but in reality describes about the contrary of what takes
place. Page 128

The simplest sleight, if well rigged up with either plausible or

nonsensical clap-trap, may be made to provide a most astonishing
and elaborate card trick; whereas, if the sleight be exhibited alone,
the effect is not at all commensurate with the time and labor spent
in acquiring the skill. Conceal, as far as possible, the possession of
digital ability, and leave the company still guessing how it is done.
Page 171 – 172

The presentation of a card trick may contain much more bosh

than action, and indeed the performance might be advantageously
prolonged by a great deal more nonsense. In all card
entertainment’s the more palaver the more the interest is excited,
and the address and patter of the performer will count as much if
not more than his skill in manipulation. Page 174

13
 Handling a Single Card

These notes accompanied a six hour seminar presented at the Harvey

House Hotel in Dallas, Texas in June of 1997. It was limited to only thirty
people with a serious interest. The admission was fifty dollars per person.
The notes cover the highlights of the seminar. Naturally, a large number of
techniques on “The Uniformity of Action” are not included. The principle
omission is the strong emphasis on the method of handling a single card that
conforms to the techniques described. When performing, every effort should
be made to handle a single card in exactly the same manner in every instance
unless circumstances absolutely dictate otherwise.

The deck is held in the left hand in dealing position with the left thumb
relaxed on the top card. The thumb is drawn back and then extended to
push the top card to the left. This is a perfectly normal manner to push a
card off the pack to be dealt onto a table.

The right hand takes the top card from the right side of the pack
between the thumb and the first and second fingers. The third finger
(between the tip and first joint) touches the card near the lower right corner
is at the narrow end of the card. The fourth finger takes no part in the grip
and is curled naturally. The posture of the right hand is very natural and it
should be noted that the grip is very similar to that taken for the top
change.

With the grip intact, the right hand draws the card slightly to the right
and the right wrist rotates counter clockwise to reveal its face. The wrist
rotates the card nearly 180 degrees. It is important that the card not be
removed too far from the pack because it is immediately replaced after the
face is noted.

To replace the card, the actions are reversed and the card is placed
squarely onto the pack. The entire action of showing the top card is neither
fast nor slow. It is shown in a perfectly normal manner. The card is merely
thumbed off the pack, shown, and then replaced on pack.

Should the single card need to be displayed for more than a moment, the
left hand and pack are drawn several inches away from the card in a
relaxed manner. Under no conditions should the single card be raised and
extended away from the pack with the right hand as the wrist turns. In
other words, the pack goes away from the card rather than the card going

15
away from the pack. This is of the utmost importance when two cards are
held as one as described in the “Flash Double.”

Jason Womack named this method for handling two cards as one “The
Flash Double” because the card is only flashed to the audience to reveal its
identity. When showing two cards as one, the pack may be taken a short
distance away from the card momentarily to give an air of casualness to the
handling. However, when this is done, the two cards must be pinched
(without the appearance of them being pinched) very firmly at the right edge
to avoid any separation.

This method of showing a single card or cards is used in the Top

Change, Flash Double, Gemini Count, “Managing the Depth Illusion,” One
Hand Tilt, Ace Transposition, and any other instance in the notes where two
cards are shown as one.

Unfortunately, the notes do not do justice to the details covered in the

seminar, and the tricks selected are ones using the techniques described.
However, the techniques are easily adaptable to many other card effects.
The Flash Double will work very well in any Ambitious Card Routine.

One addition should have been included on the Flash Double. An

efficient way to quickly get a break under two cards is to give the pack a soft
riffle at the narrow end with the right thumb while the pack is held in
dealing position. Simply stop the riffle before the top two cards drop onto
the pack and secure a little finger break with the left little finger.
Immediately give the pack a soft riffle at the upper left corner with the right
first finger. It appears you have casually given the cards a riffle at both
ends. While the hands are still on the pack, the top two cards may be
moved to the right and the lift completed as described in the notes.

The essence of the seminar was to teach “Uniform Techniques.” But even
more importantly, it was to demonstrate how they could be done in a
perfectly natural and unassuming fashion. Each of these ploys is
structured to avoid alerting the spectators mind to the blatant cheating that
is going on. Please focus on this as you work through the techniques and
routines.

16
 Flash Double

Magic books are littered with countless methods of performing the double
lift or two card turnover. It may seem pointless to include another in these
pages, but this particular method possesses several unique characteristics
which its predecessors lack. First, this double lift mimics the handling of
showing a single card for the top change, the bottom change, or prior to
placing a card into tilt. This handling also varies from others in its versatility.
Once a basic understanding of the technique is obtained, it may be utilized to
remove a double from the bottom or center of a small packet, as well as
providing a clean alternative to the Gemini count. It is also Bob’s preferred
method of handling two cards as one and is used throughout the routines in
this text.

To perform this double lift, the pack is held in the left hand dealing
position with the index finger resting along the narrow edge of the pack. A
break should then be obtained under the top two cards of the pack with the
left little finger (Figure 1).

The pinkie count is the preferred

method, but any other alternative
may be used. Once the break is
obtained, the top two cards are
apparently pushed as one card to
the right through a stratagem
devised by Dai Vernon (ref. Stars of
Magic, p. 78-79, and The Dai Vernon
Book of Magic, p. 120-122).

The right hand approaches the

pack in order to square its ends.
The right hand grips the center of
the two cards above the break. The
right hand does not lift these cards
away from the pack, but rather
moves them about an inch to the
right. Throughout this action, the
left thumb simulates the action of
pushing the cards to the right, but takes no part in the actual movement of
these cards. The cards are held in this position by firm pressure of the
left thumb (Figure 2).

17
If these actions are performed smoothly and without hesitation, the illusion
of pushing the top card to the right by the left thumb is perfect.

The right hand now resigns its position at the ends of the double card,
and the right thumb and first finger firmly pinch the double at the right
edge slightly below center with the thumb above and the first finger below.
These opposing pressures are accompanied by a slight upward pressure of
the second finger, and a forward pressure by the edge of the third finger on
the narrow end of the double card. The fourth finger takes no part in this
grip. The pressures of the index finger and thumb, as well as a forward
pressure the third finger applied to the inner edge of the card, assists in
keeping the double perfectly square (Figure 3).

The right hand carries the cards

to the right, so that the extreme
outer left-hand corner of the double
may be pinched lightly between the
index finger and the thumb of the
left hand. The fingers do not extend to
accommodate the cards. The index
finger does not move from its
position at the outside edge of the
pack. Rather, the left thumb moves
slightly forward toward the tip of the
left index finger and on to the top of
the double card (Figure 4).

The right hand now rotates

counter clockwise, at the wrist,
toward the body so that the face of
the card becomes clear to yourself
and the audience. The upper left-
hand corner of the card rotates
between the index finger and the
thumb, so that these fingers pinch
the edges of the double card. This
occurs automatically as the right
hand rotates at the wrist. The card
is now held perfectly square between
the fingers of the right and left hand
(Figure 5).

18
In initially learning the sleight, the use of the left fingers is essential, but as
the reader becomes more comfortable with the handling, the use of the left
fingers may be omitted, and the left hand may drop away from the double
giving the sleight a more open appearance. It should also be noted that the
card does not turn a full 180 degrees, although it may be turned over onto
the pack to give the face of the card greater visibility. The actions of the
right hand are now reversed, and the card is returned squarely to the top of
the pack (Figure 6).

The success of this double lift hinges on three factors:

1. The double is handled in a casual and relaxed manner.
2. The card is kept in constant motion.
3. The spectator’s gaze will invariably fix on the face of the
card, in order to recognize its value, rather than the edge,
or thickness, of the card.

White’s Comments: The “flash” in the “flash double” refers to the action of
this double lift. Remember that the double should be kept in constant motion
from start to finish. However, there is a very brief pause the moment the card
is visible to you and the spectators. You are only briefly displaying the face of
the card to the audience. Refer to items two and three above.

19
 Gemini Count Alternative

This handling of the Gemini Count is offered as an alternative to Brother

John Hamman’s method. If this method is used in conjunction with the flash
double technique, they will provide a greater uniformity to common card
handling. To execute the alternative to the Gemini Count, you must first be
conversant with the flash double technique.

To begin, hold four cards in the left hand dealing position with the left
index finger tip on the upper right-hand corner of the packet with the
thumb resting idly on the top.

The thumb exerts a downward

pressure on the four card packet.
The left index finger exerts an
upward pressure on the bottom card
and moves very slightly backward to
break it free from the other three
cards. The second, third, and fourth
fingers now buckle the bottom card
(Figure 1). The left index finger must
shield the buckled card from the
spectators view at the outer narrow
edge of the packet.

The bottom card is buckled

enough for the right first and second
fingers to contact the face of the
third card of the packet slightly
below center. The edge of the third
finger, between the tip and first joint
of the right hand, exerts a forward
pressure on the lower narrow edge of
the three cards above the buckled
card (Figure 2).

The left thumb maintains pressure on the top card of the packet. The
right third finger applies forward pressure on the cards to press them firmly
against the tip of the left index finger. As the right hand moves slightly
forward and to the right, the two cards in the center of the packet will pivot
free from the top and bottom cards. The right first finger, second finger,

20
 and thumb grip or pinch the double
card at its right side slightly below
center. The right third finger exerts
pressure against the narrow end the
cards to assure the cards remain
perfectly square (Figure 3).

The double is now removed from the

packet and shown to the audience
in the exact same manner as the flash double (Figure 4). After exhibiting the
face of the double, place it face down squarely on top of the cards in the left
hand. Thumb off the top card of the packet onto the table with the left
thumb (Figure 5).

If this procedure is repeated with the three cards in the right hand and
the buckle is omitted, a double may be removed from the bottom of the
packet, and replaced on top. The new top card is thumbed onto the table
along with the other card. To complete the count, these actions are
repeated to show the two single cards which remain in the left hand. This
count should be performed at a natural pace without the least hesitation.

21
 Magic Cards

This simple and charming effect may be performed at a moment’s

notice, requiring only a deck of cards and the ability to perform the flash
double.

To perform, run through the cards, stating that you have two very
special cards in the pack. Two cards are removed and placed aside. The
spectators do not know the identity of either of these cards. The cards are
now spread face down, and two spectators may each select a card.

Once these cards have been selected and the spectators are looking at
their cards, place the deck aside and retrieve the two cards you removed a
moment ago. Place them in left-hand dealing position. Take the selection
from the first spectator and show its face to the audience. For the sake of
explanation, we will assume the card is the three of hearts. Comment on
the value of the card and place it face down on top of the cards in your left
hand. Now, buckle the bottom card of the packet with the left fingers and
place the top two cards, as one, to the bottom of the packet.

You may now reveal that the two cards you placed aside earlier match
the selection perfectly by executing the flash double to show the three of
hearts again. The double is returned to the packet, and the top card is
transferred to the bottom of the packet. Now, take the top card of the
packet, in the same manner as the other cards, and show that it is also the
three of hearts. Return that card to the top of the packet and openly
transfer it to the bottom of the packet. Tell the spectator that you will place
their card aside. Place the new top card on top of the face down deck.
Apparently, you have shown the two cards match the selection and
returned the original selection to the pack.

If the same procedure is repeated with the second selection, the two
cards that remain in your left hand will be the selections. You may now
reveal that the identities of your magic cards are the spectators’ selections.

22
 Ace Transposition

The last trick of Dr. Daley obtained instant popularity with magicians and
lay audiences because of its simple handling and straight forward effect.

To execute this simplified handling of this classic effect, you must first
remove the four aces from the pack and arrange them in a face-up fan. The
heart is placed on the face of the packet with the diamond below it. These
cards are followed by the two black aces. Turn the packet face down and
place them in left-hand dealing position. Now, execute the first half of the
Alternative Gemini Count, showing the two red aces, and secretly exchanging
them for the two black aces. All that remains is to reveal the transposition.

23
 A False Count

This false count was originally shown to Bob over 35 years ago by J. B.
Bobo. Over the years, Bob has continually refined the handling. This method
of counting five cards as six or five as seven is extremely deceptive and
conforms completely to the Dai Vernon’s push off count. When Bob counts five
cards as four, five cards as five, or five cards as six, each count has the exact
same appearance. The count will be described for counting five cards as six.
Bob currently uses this count in his version of the twenty card trick that is
included in these pages.

To perform this count, begin by

holding five cards face down in the
left-hand dealing position. The left
thumb pushes the top card of the
packet to the right. This card is
taken between the right thumb and
the first and second fingers of the
right hand at the outer right-hand
corner of the card. The third and
fourth fingers of the right hand take
no part in the count (Figure 1).

The second card of the packet is now pushed to the right. This card is
taken underneath the first card. The right first finger extends slightly to
accommodate this action (Figure 2). The second card should be in near
perfect register with the first card (Figure 3). Both are held between the right
thumb and second fingertips.

24
 The third card is now pushed off in a similar fashion (Figure 4). Again,
the right first finger extends slightly to receive this card underneath the
other two (Figure 5), but as the finger closes to take the third card, the card
is withdrawn by the left thumb (Figures 6 & 7). This action should look
exactly like the previous action of actually taking the cards. The cards
which remain in the right hand are now taken in the same fashion as the
other cards.

This count must be performed in a conversational manner and adhere

to the natural rhythm of counting cards. Furthermore, this count may be
performed very slowly because no matter how slowly the cards are taken by
the right fingers, the speed at which the left thumb withdraws to push over
the next card remains constant. A few experiments with this count in front
of a mirror will prove its deceptiveness.

White’s Comments: For a short count (e.g., six cards as five), execute the
variant of the Vernon push-off count on page 27. All of the counts, short, long,
and true, should appear identical. Remember that the rhythm of the count
must never break – the rhythm is crucial to create the illusion.

25
 Twenty Card Trick

This is a stand-up method of the classic three cards across that does not require
palming. Bob has performed this particular effect since he was seventeen years old.
There are many reasons Bob still performs this particular effect. It, like most of
Bob's stand-up material, fits in his pocket, does not require a table, and plays to a
large crowd.

All that is required to perform this effect is twenty cards and two
spectators. The spectators should be positioned on each side of you.
Remove the twenty cards and hand them to the person on your right.
Request that they count ten cards aloud into your right hand. Bob pays
little attention to these actions. Tell the spectator on the left that you also
have ten cards for them. Once the spectator has completed counting the
ten cards into your hand, place the cards in your left hand and spread them
from hand to hand in order to check the number of cards. As you square
the cards in your left hand, obtain a break above the bottom three cards
(Figure 1). Take the cards back in Biddle position in the right hand,
maintaining the break with the right thumb (Figure 2). The right hand
relaxes and moves to a neutral position at waist level in front of the body.

The cards are now retrieved from the spectator on the right and handed
to the person on the left. They are asked to perform the same action,
counting the cards singly into your left hand. Encourage the spectator to
count the cards aloud and begin counting with them at seven. You count
the cards singly, “seven, eight, nine,” look directly at the spectator and ask,
“and one makes?”

26
 When the spectator replies ten, the
left hand is brought underneath the
right hand, and the three cards are
released on to the top of the left
hand packet (Figure 3). The right
hand does not freeze in position but
continues to move to the right to
hand its cards to the spectator on
your right (Figure 4). The timing of
this action is similar to a Han Ping
Chien move with coins. If performed
properly, the hands apparently never
go near one another. The cards in
your left hand are now counted as
ten by means of the push-off count.
In essence, all that the push-off
count requires is to count the cards
singly and to push off a four-card
block on the count of nine. This
block is taken as one card and
the tenth card is taken singly.
Furthermore, if this block is pushed
over by applying pressure with the
first joint of the thumb, rather than
the pad of the thumb, the unnatural
arcing of the packet that is so
apparent in the push-off count may be
eliminated (Figure 5).

Once these cards have been counted as ten, they are handed to the
spectator on the left for them to hold. The trick, for the most part is
finished. All that remains is for you to magically pass three cards from the
right hand packet to the left. After the first two cards are caused to pass,
Bob inserts a false count to show that eight cards remain in the packet on
the right and twelve in the packet on the left before making the final card pass.

White’s Comments: To count seven cards as eight before the final card is
caused to pass, the right fingers take the first two cards but only pretend to
take the third card. Then you say to the spectator on the right, “Hold out your
hand.” The right hand places the two cards as three into the spectator’s hand,
and the remaining cards are dealt into her hand as you count aloud.

27
 Small Packet Palm

The following palm is designed to palm one or several cards from a packet
while seated at a table, although its utility is not limited to these conditions – a
full pack may also be used. The palm may be executed very quickly under
the guise of squaring the cards and is unique because the left thumb may
remain motionless on the top of the packet and no downward pressure is
applied to the cards to move them into palm position.

To execute this palm, a packet of

cards is held in the left hand dealing
position with the left index finger
curled underneath the packet
(Figure 1). The right hand moves
over the cards in the left hand in an
effort to square the cards, but as the
cards are squared, the pad of the
right little finger contacts the upper
right-hand corner of the top card of
the packet (Figure 2). As the cards
are squared with the right hand, the
tip of the right little finger lifts the
corner of the top card of the packet
and moves it slightly to the left
(Figure 3). This causes the left-hand
edge of the top card of the packet to
pivot in the left thumb crotch. The
top card should pivot to the left no
more than a quarter of an inch, and
even this distance may be reduced
with practice. As the card pivots,
the upper left-hand corner of the
card should project over the left edge
of the packet. The right index finger
contacts the left upper-edge of the
projecting corner, and the card is
propelled backward by a slight
inward curling of the right first
finger.

28
This brings the card to an angle
jogged position over the right side of
the packet (Figure 4). The left
second and third fingers now push
this card into the palm. The card is
now in perfect position for palming,
but the card is not yet palmed; it
remains partially under the left
thumb (Figure 5). The squaring
action is now completed and the
opposing pressures that are now
being applied by the right little
finger, which has maintained its
pressure through the entire actions
of the palm, and the pressure that is
now being applied at the base of the
right thumb carry the card to the
right and out from underneath the
left thumb. The right hand now
completes its move to the right and
the palm is completed.

The left thumb remains perfectly still on top of the packet. Extreme
care should be taken so that the card is not flashed between the first and
second fingers of the right hand.

If you wish to palm more than one card from the top of the packet in this
manner, a break must be obtained below the cards and then transferred to
the tip of the right little finger as the right hand moves to square the cards.

White’s Comments: For an alternative method of pivoting the cards to be

palmed, a break is secured below the number of cards to be palmed using the
pinkie count. When the right hand covers the pack, the break is shifted to the
left middle finger. The cards to be palmed are now held between the left
middle finger and the crotch of the left thumb. The deck is held stationary by
maintaining pressure between the left little finger and the base of the left
hand. The left middle finger moves slightly toward the upper right corner of
the deck. This causes the cards above the break to pivot counterclockwise in
the left thumb crotch and project over the left edge of the pack.

29
 Managing The Depth Illusion

Throughout these pages, we have attempted to offer several techniques to

bring a greater uniformity to card magic. This simple bit of handling conforms to
these other techniques. In the context of an ambitious card routine or similar effect,
the depth illusion, or tilt, is often exploited. This handling, although extremely
simple, may find favor with a few magicians who wish to give this move a more
clean-cut and uniform appearance.

To execute the depth illusion, or tilt, the cards are held in left-hand
dealing position with the left index finger curled naturally at the outer
narrow edge of the pack, and the left thumb resting on the top of the deck.
A little finger break is now obtained under the top two cards of the pack.
The left thumb now resigns its position and moves to the left edge of the
pack. The two cards are set in tilt position.

The right hand now approaches the pack and removes the top card by
its outer left-hand corner in the following manner. The right hand
approaches the outer left-hand corner of the pack with its palm facing the
body. The right thumb contacts the corner of the card and slides it forward
so that the card may also be gripped underneath by the right index finger.
The right hand rotates the card 180 degrees and flashes the face of the card
to the audience, arriving at the same position used in the flash double or
the top change.

Now, the card is placed into the break at the rear of the pack. If
performed properly, the illusion that the card is placed into the center of the
pack is perfect. Bob believes when this move is used in the context of an
ambitious card routine, the card, after being placed into tilt, should be
shown immediately on top of the pack. This is easily accomplished by
squaring the card into the pack with the right hand, and lifting the card
slightly upward with the right thumb, bringing the card flush with the top
card of the pack. When these actions are completed, the left little finger will
hold a break below the top two cards of the pack, and the right hand is in a
squaring position above the pack. From this position, the flash double may
be immediately executed.

30
 Double Card Change

This quick color change sequence may be performed at any point in your
performances. To execute the change, a card must be reversed on the bottom of
the pack. This is accomplished very easily through a reverse devised by Dai
Vernon. This reverse may be executed without suspicion in full view of the
audience.

Hold the pack in face down

dealing position with the left thumb
resting comfortably along the left
edge of the pack. The left wrist
rotates so that the pack is
perpendicular to the floor. The left
fingers contact the top of the card
and move it backwards about a half
inch. This action is similar to the
glide (Figure1).

As the right hand approaches to

square the cards, the left fingers pull
the card to the right, under the cover
of the right hand. The card will
pivot on the right edge of the pack
until it is perpendicular to the pack
and parallel to the floor (Figure 2).

The left fingers extend and draw the

card underneath the pack (Figure 3).
The reverse takes only a moment,
and the right hand masks the action
completely. It should be noted that
the fingers of the left hand extend
rather than curl inwards. This
prevents a noticeable amount of
finger movement.

31
 Now that the card is reversed, execute a double turn-over to display a
card (Figure 4). Side slip the bottom card of the pack into the right hand,
and pass the right hand over the face up card on top of the pack (Figure 5).
Release the card in your right hand onto the face of the top card, executing
your best color change. Three cards are now face-up on top of the pack.
Execute a triple turnover and remove the top face-down card of the pack.
Shake the card and reveal that the card has changed again.

32
 Bob White’s One Hand Tilt

Over thirty years ago, Bob White conceived a one hand method for setting the top
card of a deck in position for Dai Vernon’s Depth Illusion, which later became known
as “tilt.” In 1968, he showed this ploy to Roger Klause and John Moehring. Both are
two of his oldest and closest friends in magic. Shortly thereafter, Roger showed the
procedure to others and it has subsequently become known as Roger Klause’s
method for doing the one hand tilt.

Bob had no serious objection to this particular maneuver being passed along to
others. However, while the description may have been correct, it was never described
with all the information properly disclosed. It is appearing here for the first time the
way he originally worked out the scheme. The mechanics of the move will be
described first and the management following the description.

Hold the deck in the left hand with the thumb resting across the top and
the first finger curled around the outer end in a natural dealing position
(Figure 1).

To execute the tilt of the top card with the left hand, the deck must be
adjusted upward slightly in the hand (Figure 2). The extended left thumb
puts a downward pressure on the top card and draws it backward about an
eighth of an inch into the fleshy crease of the thumb where it joins the
palm. The fleshy crease of the left thumb grips the card (Figure 3).

33
 A slight downward pressure of the thumb causes the back edge of the
top card to elevate from the deck between and eighth and a quarter of an
inch. A small flesh break may be easily established at the base of the
thumb between the top card and the balance of the deck (Figure 4). When
the break is secure, the left thumb moves forward across the pack toward
the top left corner. The top card will raise on the right side and the little
finger picks up the break at the right lower corner (Figure 5). The card is
now held between the thumb flesh break and the little finger break. A
perfect top card tilt is created.

The maneuver may be accomplished in a split second, with almost

imperceptible movement of the left hand. It is important that the second,
third, and fourth fingers remain together at the lower end of the deck to
hide the right edge of the elevated top card (Figure 6).

It should also be noted that the top card in this method, or any form of
tilt, should be elevated from the center of the card to the back edge.
Pressure of the left second finger at the right edge of the pack holds the top
card down from the center to front edge.

34
 In a performing situation, the top card of the deck is pushed off by the
left thumb and taken by the fingers of the right hand to display the face to
the audience. While the left thumb is extended, from pushing off the top
card, it presses downward on the card to be set into tilt position. As the
thumb moves back, the move is executed.

The move should be made at the exact moment the card in the right
hand is being turned to show the audience. Because the method is so rapid
and the hand movement is so slight, it is not particularly necessary to cover
the action with strong misdirection or by dropping the hand to your side.
A slight movement of the left hand will suffice. At this juncture, the card(s)
may be displayed by a two card turnover or the flash double, and the top
card placed into the center of the deck and shown to have returned to the
top.

35
 Lie Detector

The lie detector has always been a popular trick with lay people. This
simple version of the lie detector plot creates an effect which far outweighs the
little effort required to master it. The principle of the lie detector was originally
shown to Bob by Tony Divine from Oklahoma City. The method is not original
with either of them. We are unable to locate the origin of the effect, but are
certain that the principle of this version is quite old. It is a simple and clean
method of the standard effect. It should also be noted that simple effects are
not always easy to do, and this trick is offered as an example of how a trick
may be properly managed.

A pack of cards is thoroughly shuffled, and the magician proposes a

demonstration of how a pack of cards may be utilized as a lie detector. A
card is selected, and returned to the pack. The magician asks the spectator
a series of questions about the identity of their card. The spectator is
reminded that they may lie or tell the truth. The magician spells each of the
spectator's answers by placing a card onto the table for each letter of their
answer. After all the questions are asked, the magician arrives at one card
which proves to be the selection.

To accomplish this effect, the card must be positioned fourteenth from

the top of the pack. Bob's preferred method of accomplishing this task is,
after proposing the demonstration, to spell lie detector test by dealing one
card to the table for each letter of the phrase and then spreading those
fifteen cards across the table for a selection.

The spectator removes a card from among these, and as the card is
noted, the cards are reclaimed and returned to the top of the pack in left
hand dealing position. As the cards are replaced on the pack, one card is
allowed to fall flush with the pack, and the left little finger obtains a break
between the thirteen cards and the rest of the pack. After the card is noted
by the spectator, the right hand approaches the pack and grasps all the
cards above the break with the thumb at the rear of the packet and the
right fingers at the outer edge. Furthermore, the right hand should grip
these cards deep in the right hand, so that the spectator may not judge how
many cards were removed. The selection is now returned to the pack and
the thirteen cards are placed on top of it. You may now execute a false
shuffle or cut, but this may be omitted at your discretion.

36
 Once the card is in position, you begin to ask the spectator three
questions. The questions are always the same, and the spectator may lie or
tell the truth. The first question pertains to color. Ask the spectator if their
card was red or black. Then, deal one card to the table for each letter of
their answer, spelling the answer aloud. You must then inquire whether
the card was a face card or a spot card. Repeat the procedure of dealing
one card to the table for each letter of their answer. Now, you must inquire
about the suit. If the spectator said their card was a red card, ask them if
their card was a heart or a diamond. If the spectator said they picked a
black card, ask whether the card was a club or a spade.

By asking these three questions and spelling each answer, you will
arrive somewhere near the selected card. Since the same number of cards
will be dealt if their card was a face or a spot card, adjustments must be
made for suit and color. The adjustments are as follows:

If the spectator tells you the card is a red and a heart, you must
perform a double lift from the top of the pack.

If the spectator claims the card is red and a diamond, the top card of
the tabled packet is the selection.

If the spectator claims the card is black and a club, the selection is the
top card of the pack.

If the selection is supposedly a black card and a spade, the selection is

on top of the tabled packet.

37
 Slow Motion Jazz Aces

This effect mirrors the original Jazz Aces created by Peter Kane. It is a
simplified ace assembly using only eight cards. This effect, although the same
as Kane's original, combines several aspects of Dai Vernon's Slow Motion
Aces, providing a clean lay out of the four aces.

Eight cards are required to perform this effect. Bob prefers to keep
these cards separate from the pack, so that he may perform this routine at
a moments notice. Bob prefers to use the four aces and four jokers, but the
red eights and nines may be substituted for the jokers.

Begin by placing the aces and jokers face up on the table. At this
point, the order of the cards is of no importance. The jokers are retrieved
from the table and placed face down in left hand dealing position. The aces
are then retrieved from the table and placed face up on top of the face-down
jokers. The top five cards of the left hand are now spread by the left thumb,
and the aces are openly arranged. The two red aces are placed together on
the top of the face up packet, and these aces are followed by the spade and
the club. The cards are now squared and a little finger break is obtained
below the top five cards, the four face-up aces and the first face-down joker.
The right hand now grips all five cards above the break with the thumb at
the inner end of the packet and the fingers at the outer end. This entire
action should look very innocent. You merely arranged the cards, squared
them and removed them from the packet.

The left thumb draws the top red ace onto the packet in the left hand.
The right hand packet is used to flip that ace face down. This action is
repeated with the second red ace. Then, the two face-up black aces and the
face-down joker, which remain in the right hand, are dropped onto the
cards in the left hand. The ace of spades is now pushed off the packet with
the thumb and taken between the right finger tips at the right edge of the
card, and this card is used to flip the ace of clubs face down onto the left-
hand packet. The ace of spades is now placed on the table face up in the
leader ace position. At this point, the cards in the left hand should run,
from top down, ace of clubs, joker, the two red aces, and the three other
jokers.

The top three cards of the packet are now spread between the hands, to
emphasize the position of the three aces. The cards are squared, and a little

38
finger break is obtained below the third card. The right hand, after
squaring the packet, grasps the top ace of the packet in Biddle position and
moves it to the right for roughly half of its length. The right fingers and
thumb now grip the two cards above the break as one, and they are moved
to the right. Next, the left thumb pushes a card to the right and that card is
gripped by the right fingers. The cards overlap slightly and are held in this
spread condition by the right hand.

The right hand, while maintaining its grip on its cards, rotates at the
wrist, so that the right palm will face the audience, thus displaying the
faces of the cards in the right hand. The right hand rotates palm down
again and moves to the upper right-hand corner of the T-formation. The left
hand then, turns palm down, and the left index finger, as if pointing to the
ace at the left of the spread, applies a downward pressure on that ace,
freeing it from the right hand grip. The right hand turns palm toward the
audience again displaying the remaining aces. As the right hand turns
palm down again, the left hand takes the double card, in dealing position,
squarely on top of the cards in the left hand. The top card of the left hand
packet, a joker, is now thumbed onto the table at the outer left-hand corner
of the T-formation. The last ace remaining in the right hand is displayed to
the audience and placed face down between the other two aces just placed
on the table. An ace now rests on the top of the packet in the left hand.
These actions simulate the lay down of the aces in Vernon's Slow-Motion
Aces, but only one card is exchanged for a joker.

To make the aces assemble, buckle the two bottom cards of the left-
hand packet and perform the flash double, displaying a joker, return the
double to the packet and place the top card, an ace, face down on top of the
ace of spades. Pick up the ace in the upper right-hand corner of the T-
formation and place it below the top card of the packet. Make the ace
vanish by showing the top card and placing it face down on the table.
Buckle the bottom card of the three cards which remain in the left hand
and perform a double lift showing another joker. Show that the last two
cards are jokers and use them to scoop up the two cards you tabled a
moment ago and place all four cards in dealing position. Once again, an
ace is on top of the packet. If the exact same actions are repeated with the
second ace, it will also appear to vanish. The last ace vanishes very cleanly,
because you exchanged it for a joker at the beginning of the effect.

39
 Revisiting E. G. Brown’s Spelling Trick

This is Bob White's handling of the classic E.G. Brown Spelling Trick.
While some readers may be tempted to pass this by, you should consider that
this handling is extremely practical, commercial, and most likely vastly
different from anything in your repertoire.

To begin, remove the ace through ten of clubs and arrange them in
consecutive order with the ten on the top of the packet and the ace on the
face of the packet. Bob often carries these cards separately so he may
perform this effect at any time during his performance. Display the cards to
the audience. Then turn the cards face down and proceed to shuffle them.
There are three phases to this shuffle, and each phase must be carried out
in a casual and conversational manner without the least hesitation.

PHASE ONE

“Now these cards are in consecutive order, but I am going to shuffle them, so
that the ace isn't on top and the ten isn't on bottom. In other words, I will
completely mix the cards.”

While this is being said, the cards are apparently given a haphazard
shuffle. The cards are held in left hand dealing position and the left thumb
pushes the top three cards to the right. These cards are taken at the right
edge by the right thumb and fingers. The fourth card is then pushed over
and taken on top of the cards in the right hand. The next card is pushed
over and taken below the cards in the right hand. The next card is taken
above the cards in the right hand. The cards remaining in the left hand are
alternated in this fashion until all of the cards in the left hand are
exhausted. Now, return the cards to left hand dealing position.

PHASE TWO

“I am going to completely mix these cards. Some together... Some on top...

some together...and some on bottom.”

Begin the second phase of the shuffle by pushing off the top two cards
and taking them in the right hand. Push off the next card and take it above

40
the cards in the right hand. Two more cards are pushed off and taken
above the cards in the right hand. A single card is then pushed off and
placed to the bottom of the cards in the right hand. The remainder of the
cards in the left hand is now placed on top of the cards in the right hand.
Replace the cards in the left hand dealing position.

PHASE THREE

“When you do this, it completely mixes the cards.”

Push off the top card and take it at the right fingers. Place the next
card on top of the first. Next, push off two cards and place both of them on
top of the cards in the right hand without reversing the order. Finally, place
the remaining cards in the left hand on top of the cards in your right hand,
and return the cards to left had dealing position.

You are now ready to begin. If you turn the packet face up, you should
see the eight of clubs. The cards will appear to have a random order. Turn
the packet face down and spell a-c-e, by transferring one card to the bottom
of the packet for each letter of the word and turn over the next card; it will
be the ace. Place the ace face down on the table. Repeat the procedure
with the two, by transferring one card to the bottom of the packet for the “t,
the w, and the o,” and the very next card will be the two. Show the two to
the audience and place it face down on the table with the ace. Now, allow
the spectator to spell three. They should mimic your actions exactly. When
they turn over the top card of the packet, it will be the three. Bob prefers to
let a lady find the three. He then hands the cards to a gentleman to find the
four, but when he spells four and turns over the next card it proves to be a
seven. Retrieve the cards from him and replace the seven on top of the
packet. You now spell four, show the four, and place it face down on the
table with the other cards. The four should be revealed with an expression
of relief. Hand the cards to the lady and request that she spell five. It will
work perfectly. Table the five and hand the cards to the gentleman to have
him spell six. Of course, he will find the seven again.

The cards are retrieved from him, and a very important maneuver is
performed. Take the packet back from him and place it in the left hand
dealing position. As you retrieve the seven, with your left thumb, push over
the top card of the packet. Place the seven face up on top of the packet.
The card just below the seven should project over the right side of the

41
packet. The right hand now removes the card below the seven and uses
that card to flip the seven face down. The right hand now replaces its card
face down on top of the packet. This action transposes the seven and the
card just below it. The action takes only a moment to perform and should
draw little attention. This is not a move. It is done casually.

The cards are now set to spell six. Hand them to the lady and let her
do it. Retrieve the remaining cards and say, “Maybe I should spell seven.”
This time, when you spell seven, perform a double lift and show the seven.
Replace the double and place the top card with the cards on the table.
Allow the lady to spell and reveal the eight. Retrieve the cards from her and
say, “We will do the nine next.” As you say this, remove the nine from the
bottom of the packet and show it to the audience. Replace the nine on top
of the other card in the left hand and spell nine. After revealing the nine,
hand the last card to the gentleman and ask him to spell ten and turn the
card over. It is the seven.

Great care should be taken in presenting this trick. At no time should

the spectators be made to feel foolish. The audience should leave each of
your performances feeling better about themselves and you.

42
 Pressley Guitar’s Two Copper & Silver

Today, very few magicians are aware that Pressley Guitar invented the
cigarette through quarter and the copper, silver and brass transposition.
Pressley also had a wonderful handling for the two copper and one silver
transposition. Pressley showed this handling to a few magicians, but this is
the first time that his handling has seen print. His handling is simple,
perfectly natural and elegant, and we wish to extend our sincere thanks for
allowing us to include it here.

To perform this effect, you will need to have a two copper and one silver
set that is now manufactured by Johnson Products. The set is arranged in
the following order: The regular silver coin is placed on the bottom, this
coin is followed by the gaffed coin, which is place silver side down, and the
large penny next and the smaller foreign coin is placed on top.

Begin by removing the coins from a purse or pocket in this stacked

condition and place them in your left hand in finger palm position. Look at
the coins and say, “I have a few foreign coins and an American half dollar.”
As this is said, remove the silver coin, at the bottom of the stack, and place
it into your right jacket pocket. Pick up the two foreign coins and place
them onto the table or hand them to a spectator. Now, apparently place the
gimmicked coin into the left jacket pocket. Do not draw any attention to
this action. As you comment on the foreign coins, the left thumb separates
gimmicked coin and leaves the pocket with the shell and insert finger
palmed. Retrieve the two foreign coins from the spectator and apparently
place the coins into the left hand, but retain them in the right. This is
easily accomplished by holding the coins in place with the right thumb as
the right hand turns over, and the left hand turns palm up, exposing the
gimmicked set of coins. The right hand casually goes into the right pocket
to retrieve the half dollar and leave the foreign coins behind. The half dollar
is placed on top of the coins in the left hand.

Close the left hand and allow the gimmicked coins to nest together.
The left fist then turns palm down, and the right index finger and thumb
reach into the hole created by the left index finger and thumb and
withdraws the nested gimmick. The silver side should be facing up. The
left wrist rotates, so that the palm of the left hand faces towards the right,
and the right hand deposits the gimmicked coin on the side of the left index
finger. The right hand is casually shown empty and then reclaims the

43
gimmicked coin from the side of the left fist. The coin is taken at the edge
by the right hand with the fingers above and the thumb below the coin. By
taking the coin in this position, and closing the hand into a fist, the copper
side of the nested coins will face the palm. Make some sort of magical
gesture, and open the left hand to show that the silver coin has jumped
back. Then open the right hand, separating the nested gimmick, and
showing that the coins have changed places. Return the foreign coins to
the left hand to display all three coins.

Repeat the previous actions of closing the right hand and removing the
half dollar, but this time close the right hand around the gimmicked coins
and classic palm them with the silver side of the set facing the palm. This
will prevent the coins from separating. Emphasize the positions of the
coins, by executing the pop-up move with the left hand as the right hand
apparently places its coin on the left fist. This move is similar to the move
performed by Dai Vernon and Silent Mora with a ball, but the move is also
applicable to coin work. The left hand basically squeezes the coin out of the
left fist as the right hand pretends to place its coin on the side of the fist. If
done properly, the illusion is perfect.

The un-gimmicked silver coin is now taken at the right fingers. The
hands are separated. The left hand is opened to reveal that the copper coins
have vanished. The right hand is now opened and the gimmick is separated
to show all three coins in the right hand. The coins, once again are
returned to the left hand.

The actions of closing the hand and removing the gimmicked coins are
repeated a third time, but this time the gimmicked coin is placed into the
right pocket with the legitimate copper coins. The right hand is shown
empty, and the left hand opens to reveal the silver coin has returned again.
The right hand now returns to the right pants pocket and removes the
legitimate copper coins to finish.

44
 Torn & Restored Tissue Paper

This is a handling of the classic torn and restored paper effect

accompanied by an explanation. The handling is extremely practical,
commercial, and has fooled several knowledgeable magicians.

In order to perform this effect, you must obtain a package of Hallmark

dinner napkins, or any other two or three ply napkins that have a fluted
edge. The fluted edge of the napkin must be trimmed off, and the layers of
the napkin must be separated. Depending on the ply of the napkin, you
should be able to separate one napkin into two or three pieces. When the
edge of the napkin is trimmed and the pieces are separated and unfolded,
you should have a ten inch square piece of tissue paper

Five pieces of this tissue are required to perform this effect. Three of
these pieces are formed into little balls in the following manner. Unfold the
tissue and hold it at one of the corners. Run the other hand down the
paper squeezing it together diagonally. Fold about one third of the paper up
from the bottom and begin rolling it into a small ball.

The two remaining pieces of tissue are unfolded and then folded again
so that the edges do not line up. This makes unfolding the tissue during
the performance particularly easy.

Place two of the rolled up tissues into the left pants pocket. Place the
third ball of tissue in the center of one of the folded pieces and squeeze this
tissue around the ball. Place this package into the outer breast pocket of
your jacket. The last piece of folded tissue is placed in either jacket pocket.

You are now ready to perform this effect. Begin by saying, “I'll show
you a trick anyone can do.” Remove the tissue from the breast pocket. The
hands are shown to be otherwise empty. As the folded paper is
straightened by both hands, the rolled up tissue is placed into the left-hand
finger palm position. Hold the tissue up so that it is fully visible, and begin
tearing the paper, with the grain, down the center. Place these two pieces
together and tear them down the center again. This method of tearing the
paper leaves you with four strips of tissue paper. It is important to note
that you should always tear the paper with the grain. Pinch two strips of
paper between the fingers and thumb of each hand and display them to the

45
audience. Form the four pieces into a ball in the left hand and, in the
process pinch the ball of tissue concealed in the left hand against the torn
pieces. Show the right hand empty and take both the pieces and the ball of
tissue together at the right finger tips. Show the left hand empty and
openly display the pieces and the ball of tissue as the pieces. If both the
pieces and the ball of tissue are pinched together, the keenest observer will
be unable to notice that the extra ball of tissue. Under the guise of
squeezing the tissue into a tighter ball replace only the whole piece in the
left hand and open the piece to show it is completely restored. Now take the
whole piece of tissue paper and crumple it up with the torn pieces and
discard it.

Tell the audience that anyone can do this trick, but you must have two
pieces of tissue paper. Remove the two balled up pieces from the left pants
pocket. Pinch those pieces together in the left had and display the pieces as
one piece in the left hand. Say to the audience, “Of course you never show
this one.” Show the audience how you conceal the piece in the left hand
and remove the folded sheet of paper from the jacket pocket.

Begin tearing the paper as you did a moment ago, and roll the pieces
into a ball. Pick up both the torn pieces and one of the restored pieces in
the right hand and show them as all of the pieces. Then display the other
ball of tissue in the left hand, as the whole one you have been concealing all
along. Now place only the whole tissue back in the left hand and say to the
audience, “I am right handed, but I will do this with my left hand so you
may see how it is done.” Turn your body so that the audience may see into
your right hand, and openly switch the pieces at the left finger tips. The
manner in which you do this is not important, just switch the pieces. Open
the ball at the left finger tips to show that it is whole and take it in the right
hand. Now, with the right hand crumple the whole piece around the pieces
in the right hand and toss both pieces aside. All that remains is to open the
other piece in the left hand to show that the pieces are once again restored.

46
 Introduction to the Supplements

It seems like a lifetime has passed since Bob and I compiled his
first set of lecture notes, It’s a Matter of Style. The last set was
prepared for Bob’s first lecture in Dallas, and this set was prepared
for what may be his last lecture. I’m not saying that he will never
lecture again, but this may be the last time that he commits to a
seven to eight hour marathon workshop.

That being said, these notes will not encompass all of the effects
Bob will perform at the lecture, but it will highlight a few that have
amused him and his audiences over the years. Five tricks are
included. Each is relatively simple to do, but – like any trick –
difficult to do well.

Francis Carlyle once said that all magicians would benefit from a
lecture in magic management. Management does not deal with effects
per se. Rather, effective management addresses how a magician
manages the minutiae of magic. As a whole, magicians spend far too
little time thinking about when to secure a break, how to handle cards
uniformly, and whether or not an action is truly natural. While these
questions may seem trite, how you answer these seemingly
insignificant question can make a tremendous difference in how an
audience regards your performance.

This lecture, like Bob’s previous lectures, stresses how you do

magic over what you do. The effects, for the largest part, are not
original. However, the methods are. In each of these effects are ideas
that may answer some of these questions. Pay attention to the things
you often ignore in a magic text. Notice how few times you find
yourself fumbling for a break. Also notice how the cards are handled
in the same manner throughout the effects. This is good
management, and it can only make your magic stronger.

Jason Womack
May 23, 2003

47
 The Ambitious Classic Revisited

The following is a re-working of the Larry Jennings’ effect “The Ambitious

Classic.” The effect has not been changed, but the mechanics have been
streamlined giving the handling a more natural appearance.

Preparation

Place the ace through five of clubs in order. The ace should be
positioned on the face of the packet. To this packet, add the five of hearts.
This card should be placed face down on the bottom of the packet. In other
words, the black cards should be face-up and the red five will be face down.

Bob often separates these cards before beginning the effect. However,
you may also remove the cards from the deck. In this case, you will need to
cut the five of hearts to the top of the pack.

Method

Begin by displaying the cards. Deal the ace onto the table followed by
the two, three, and four. Each card should be handled in the same fashion.
Bob deals the cards to the table by gripping them at the lower-right-hand
corner. However, you may stray from this procedure as long as the motions
are uniform.

Once you have dealt the first four cards onto the table, take the last two
cards as a single card and place them on top of the others. This double
card should be handled exactly like the other single cards. At this point, no
particular attention should be drawn to the cards. You are merely dealing
the cards onto the table.

Now, pick up the packet from the table, square them, and place them
face down in left-hand-dealing position. Remove the ace from the top of the
packet and display the face of the card to the audience. You may flip this
card face-up or remove it from the packet in the same manner as you would
when executing the flash double. Whatever the case, turn the ace face
down and hold it in your left hand. With your right thumb, push over the
top card of the packet and slide the ace underneath that card. As you
square the cards, maintain a break underneath the two cards.

Execute a double-lift. The ace has apparently returned to the top of the
packet. Turn the double face down and remove the top card. Place this
card into the center of the packet. Instead of placing the card underneath

49
the top card, place it second from the bottom. This is accomplished by
pushing off all of the cards above the bottom card with the left thumb.
Then, the right hand inserts the card and squares the packet. This action
is designed to be consistent with the previous action of placing the card
second from the top. You should adhere to this procedure each time you
place a card into the packet.

Once you have placed the card into the packet, reveal that the ace has
returned to the top of the packet by turning it face up. With your right
hand, deal the ace face up onto the table. As you place the ace onto the
table, buckle the bottom card of the packet with your left fingers and obtain
a break above that card.

Now, you will repeat the same effect with the two, but the handling will
vary slightly. As your right had moves back towards the remaining cards,
your left hand executes the Vernon push-off with the all of the cards above
the break. Turn this block face up on top of the packet. This action will
display the two of clubs. Due to the reversed five of hearts, the two may be
removed from the packet and displayed as a single card. Turn the two face
down and take the card with at the right fingertips. With your left hand,
execute a block push of all of the cards above the bottom card. Place the
two underneath the block. Square the cards and obtain a break above the
bottom card. Execute a push off with all of the cards above the break and
reveal that the two has returned to the top of the packet. Deal the two face
up on top of the tabled ace.

At this point, the ace has risen to the top of the packet twice and the two
has returned to the top once. You will now perform a different
demonstration with the three. Turn the top card of the packet, the three,
face-up on top of the packet and remove it with the right fingers. Now, turn
the remaining cards face up in the left hand by moving the left thumb
underneath the packet. With the left thumb, push up on the cards in the
left hand. This action, with the aid of the left fingers, will cause the packet
to turn face up where it can be re-gripped in left-hand dealing position.

You are holding the face up three of clubs in your right hand and a face
up packet of cards – with the five of clubs on its face – in your left hand.
Now, you will place the three in the center of the packet in your left hand.
To accomplish this, take the three between the index finger and thumb of
the left hand. You should grip the three at the lower-left corner.

Buckle the bottom card of the packet with your left fingers. Grip the
double card with your right fingers and place it on top of the out jogged
three. This double card, however, should not be placed directly over the

50
three. Instead, the card should stay in line with the four and should be
held in that position by the left thumb. In other words, the three should
remain in an out-jogged condition. Now, square the packet.

Push off the top card of the packet with the left thumb. Take this card
with the right fingers. Repeat the procedure with the next card. But this
time, push off all of the cards above the bottom card with the left thumb.
Take this double on top of the card in your right hand. Then, take the
remaining card on top of the cards in your right hand. Apparently, the
three has reversed itself between the four and five.

You will repeat the effect with the three by turning the four face-down on
the packet. Next, remove the five from the bottom of the packet, turn it face
down, and replace it on the bottom. Repeat the push-off count you
performed a moment ago. This time, however, you will not reverse the order
of the cards. In other words, you will thumb off the top card into the right
fingers. Then, you will take the double card underneath the first card, and
the last card will go to the bottom of the packet. This procedure displays all
of the cards face down. Return the packet to the left-hand dealing position.

If you are inclined, make a magical gesture over the packet and buckle
the two bottom cards of the packet with the left fingers. With your right
fingers, remove the top two cards as one. This will reveal the reversed
three. Upjog the three with your left thumb and replace the double card on
top of the packet. Remove the three from the packet with your right hand
and add it to the discarded packet.

Turn the top card – the four of clubs – face-up on the packet. Then push
the face up four to the right to form a two-card spread. Be careful. Do not
expose the extra card. Take the packet in the right hand without disturbing
the condition of the cards. Take the cards in the same manner as you do
when performing the flash double. Now, display the four and the five by
tilting the entire spread towards the audience. Call attention to the two
remaining cards and replace them in the left-hand dealing position. Turn
the four face-down and push off the top two cards as a single card with the
left thumb. Remove the double card and place it underneath the card in
your left hand. Perform a double lift to show that the four returns to the
top. Now, push off the face-up double card and place it on the discard pile.
Do not draw attention to this action. Discarding should be an afterthought
on your part and – for that matter – an afterthought on the part of the
audience.

You should have one card remaining in your left hand. If you have
performed the effect correctly, this is the five of hearts. Say to the audience:

51
“There is very little you can do with a single card. But if you tickle the face
of the card, it will change.” Suiting actions to words, tickle the face of the
card with the right fingers and slowly reveal that the face of the card has
changed to red. To finish, use the five to scoop up the cards on the table.

Comments: There are several points in this routine where you may call
attention to the black five at the bottom of the packet. Feel free to point out the
position of the black five. However, do not call attention to the card in any
way that will allow the spectators to predict the ending.

Bob will call attention to the five once or twice during the routine as he
places another card into the center of the packet. Typically, he will make the
following comment: “Remember, the card goes into the center. It does not go
on the bottom.” As he makes these statements, Bob may tip the face of the
packet towards the audience revealing the five of clubs.

52
 White’s Skip Trick

The “Skip Trick” was the term Charlie Miller used to refer to a variety of
methods that achieved the same effect: The magician accidentally discards,
eliminates, or skips the spectator’s card. Then, after failing to find the correct
card and through some by-play, the magician finds the correct card and
concludes the trick. Dai Vernon’s “Fingerprint Trick,” Eddie Fechter’s “That’s
It,” and Charlie Miller’s “Dunbury Delusion” are all examples of skip tricks
that have found their way into the professional repertoires of countless
magicians.

Bob White’s method for the “Skip Trick” is essentially a variation of

Vernon’s Fingerprint Trick, because he uses the same presentation. However,
the method is different. Unlike Vernon’s method, the cards are not shown to
the audience from the top of the pack. Instead, Bob removes the cards and
performs the effect with a small packet.

It is expected that you will be familiar with Vernon’s trick. Therefore, the
presentation will not be detailed here. If you are interested in the regular
method, please consult Volume I of the Vernon Chronicles.

Method

Have a card selected and returned to the pack. Once the card is
returned, control it to the top with the pass, a double undercut, or any
other method that will place the card in the desired position.

Once the card is on top of the pack, spread the cards between your
hands. Begin removing cards from the spread and place them face down on
top of the selection. Do not call any particular attention to these actions.
You will remove four cards from the pack, but the spectator should not be
aware of exactly how many cards you are removing.

At this point, the selection should occupy a position fifth from the top of
the pack. Spread over the top five cards of the pack and say, “I believe that
your card is among these cards.” As you say this, push off the sixth card
and remove all six cards from the pack with the right hand. Place the deck
aside and deposit the cards held in the right hand into left-hand dealing
position.

Execute a push-off count, without reversing the order of the cards, to

display the six cards as five. Then, return the cards to dealing position.

53
Now, you will begin to display the faces of the cards to the audience. Flip
the first card of the packet face-up to show the value of the card. Turn the
card face down and place it on the table. Next, repeat these actions with
the new top card of the packet. Once you have turned this card face down,
remove it from the packet and place it on top of the card you discarded a
moment ago.

There are four cards remaining in your left hand. Execute a triple
turnover. The spectator will see his card. Turn the triple facedown and
place it on the other cards. You have apparently eliminated the spectator’s
card.

Turn over the next card of the packet. Call attention to that card. Then,
grip the entire packet with the right fingers and rotate the right wrist
counterclockwise to display the card on the face of the packet. Return the
packet to the left hand and turn the top card face down. Remove this card
with your right fingers and place it beneath the double card in your left
hand. Now, perform a double lift and display the other card you showed the
audience a moment ago. Turn the double face down and place the top card
on the table in front of you.

At this point, you have apparently placed the wrong card on the table.
Take the double card remaining in the left hand with your right fingers.
Use this card to scoop up the discard pile you formed earlier. Return that
pile of cards to the pack. Ask the spectator to name his card. Feign
disappointment and turn over the card on the table revealing the selection.

Comments: It is widely considered poor form to look at the double and triple
cards while you are turning them over. Please handle the cards nonchalantly.
If you do not scrutinize the packet and each move while performing the effect,
neither will the audience.

White’s Comments: Do not make a move out of removing the six cards as
five from the pack. Rely on the fact that the audience does not know what you
are about to do. Simply push off the five cards, and the moment you move to
table the deck with the left hand, shove over one more card into the right
hand. This handling is not contrived and is more subtle than the standard
“Biddle Grip” secret addition of a card.

54
 Ladies and Gentlemen

This is an amusing interlude with playing cards. While your audience will
not fall out of their seats after seeing this one, you may be surprised at the
amount of curiosity this novel effect will illicit.

To begin, you will apparently take eight cards from the top of the pack.
Actually, you will remove seven. In order to do this, take the cards one at a
time from the top of the deck with the right fingers. The cards should be
taken with between the right first and second fingers and the right thumb.
You will count seven cards off the top of the pack. The eighth card is
pushed over with the left thumb, but as the right fingers attempt to remove
it, use your left thumb to draw the card square with the deck.

Place these “eight” cards aside and return to the deck. These cards will
represent the “gentlemen.” Now, legitimately count seven cards from the
pack. Deal these cards, which will represent the “ladies,” into a row on the
table. The fourth card in this row should be directly in front of you. Now,
you are ready to begin the trick.

These eight cards will represent eight gentlemen, and these seven cards
will represent seven ladies. The gentlemen were in search of dance partners
and were disheartened to find only seven ladies. Fortunately, the bandleader
was also a magician. He told one of the gentlemen to wait by the piano. . .

As you say these lines, pick up the pile of “gentlemen” cards and place
the top card at the upper-right-hand corner of your working surface.

The bandleader found each of the gentlemen a dancing partner.

Take the top card of the packet with your right fingers and scoop up one
of the ladies. Place these two cards on top of the pack. Working from left to
right, continue to place “gentlemen” with “ladies” until there are only two
cards left on the table and no cards in your hand.

The bandleader even found a dance partner for the eighth gentleman.

Once you have placed each of the cards in your left hand with one of the
cards on the table, pick up the card you placed aside earlier and use it to
scoop up the final “lady.”

In order to repeat the effect, ask a spectator to deal eight cards into a
pile on the table and seven cards in a row in front of you. Pick up the pile

55
of eight cards and spread them between your hands as if you were checking
the number of cards. Close the spread and obtain a break beneath the fifth
card.

Proceed exactly as you did a moment ago. Place one card aside and
begin scooping up each card on the table. However, once you reach the
third card, execute a double push-off with the third and fourth card. Use
this double card to scoop up one of the cards on the table, disposing of the
extra card. Conclude the trick by placing each “gentleman” with a “lady.”

56
 Copper and Silver Transposition

This is a straightforward copper/silver transposition accomplished by a

rather unorthodox use of a shell.

Preparation

Place an English penny shell over an English penny. Then, place this
coin and shell into a coin purse with an American half dollar.

Method

Open the coin purse and remove the two coins. Ask the spectators if they
have seen an English penny. As you ask this question, classic palm the shell
in your right hand (Figure 1). Display the front and back of each of the coins
(Figure 2). Then, pick up the purse and place it in your right pocket.

Pick up the half dollar with your right hand and insert it into the shell.
This action is similar to palming a coin. Use the right fingers to press the
coin into the shell (Figure 3). Then, release the shell from palm position and
lower the coin and the shell to the fingertips. As you are inserting the half
dollar into the shell, pick up the penny with your left hand.

57
 Place the half dollar – silver side up – alongside the penny in your left
hand and curl the fingers into a loose fist (Figure 4). Now, turn your hand
palm down. With your right index finger and thumb, reach into your left
fist and remove the makeshift copper/silver coin (Figure 5). This time, the
audience will see the copper side of the coin. Place the coin on the back of
your left hand for a moment. Then, remove the coin with your right hand.

Close the right hand into a fist and classic palm the shell. Wait a
moment. Then, allow each coin to slide to the fingertips revealing the
transposition. The shell will be concealed in the Malini/Kaps subtlety
(Figure 6). Toss each coin onto the table. Now, retrieve the purse leaving
the shell in the pocket.

White’s Comments: During a recent session in Dallas, New York magician

Eric DeCamps developed the following handling:

The preparation is identical; however, when you remove the two coins from
the purse place them onto the table leaving the shell on the penny. Casually,
turn the coins over on the table to show the other sides and then over again to
return the shell to the upper side of the penny. Pick up the half dollar with the
right fingers and place it on the out-stretched left palm. Now, pick up the
penny and place it on the left fingers to the right of the half dollar.

58
 As you speak, simply turn the left wrist toward you slightly as the right
hand approaches to take one of the coins. During this action, the right
fingertips take the shell and place it on the half dollar. The motion of
transferring the shell is lost in the motion of picking up the coin (Figure 7).

The moment the right hand begins to carry the “copper-silver” coins away,
the left hand closes naturally and retires to the table. Show the copper (?) coin
in the right hand; close the right hand and classic palm the shell. Open the
left hand to reveal that the copper coin has jumped across and toss it to the
table. Toss the silver coin in the right hand to the table and clean up the trick
as described in the previous handling.

59
 The Homing Card

The performer removes a small packet comprised of three red cards and
the queen of spades. The queen of spades is removed from the packet and
placed aside. The red cards are shown one at a time. The performer wiggles
the packet and the queen of spades transposes with one of the red cards.
This effect is repeated with each of the red cards. Each time, the queen
returns to the packet.

Method

Remove the two red eights, the two red nines, and the queen of spades
from a pack of cards. The cards should be arranged in the following order:
Alternate the eights and nines and place the queen of spades on the face of
the packet. Now, you are ready to begin the trick.

First, you will display the packet of cards using the push-off count. The
cards are held face-up in the left hand dealing position. With the left
thumb, push off the queen of spades and take it by the upper-right-hand
corner between your right thumb and first and second fingers. Now, push
off a red card in the same fashion. You will take this card below the queen
of spades. The bottom portion of the red card should be slightly visible
below the queen of spades. Later, this slight in-jog will allow you to form a
break. Push off the next two cards as one so that they align with the queen,
and take the last red card underneath all of the cards in the right hand.

Return the packet to the left-hand dealing position. Using your right
hand, square the packet forming a break above the in-jogged red card. With
your right hand, maintain contact with the double card and use your left
thumb to turn all of the cards below this double face up. This is easily
accomplished. Move your left thumb below the packet in and push up.
This will cause the packet to turn between your left fingers and thumb and
the packet will rotate to a face down position. Once the packet is face-
down, replace the red cards underneath the double card in the right hand.
This packet should not be placed flush with the double. Instead, the double
should project about an inch to the right of the other cards. Now, turn the
double face down with the right fingers and place the top card aside.

Turn the remaining cards face up and show the audience the three
remaining red cards. Deal the two red cards onto the table. Then, take the
remaining double card with the right fingers and use it to scoop up the

60
remaining red cards on the table. In other words, slide the face up double
card underneath the cards on the table and use that double to carry the
card back to left-hand dealing position.

You will now reveal that the queen has returned to the packet. Push off
the face card of the packet and take it with your right fingers. Next, push
off a double card and place it on top of the card in the right fingers. Then,
place the queen of spades on top of the cards in the right hand.

Now, form a break below the two cards at the face of the packet and
repeat the procedure of turning the packet face down and placing the queen
aside. Turn the cards in the left hand face up and show the two remaining
red cards. Push off the card on the face of the packet and take it with your
right fingers. Then, take the remaining double card on top of the single red
card in your right hand. Square the cards and return them to left-hand
dealing position. With your left thumb, push the face card of the packet to
the right and take it with your right fingers to reveal that the queen has
returned to the packet a second time. Then, replace the red card on top of
the queen and turn the packet face down.

With your right fingers, grip the packet at the lower right corner and
flash the red card on the face of the packet to the audience. Return the
packet to left-hand dealing position and remove a double from the bottom of
the packet. Show the face of the card to the audience and place it on top of
the cards in the left hand. Place the top card on the table and use the
remaining double card in the left hand to scoop up the pile of cards on the
table. Once you have gathered these cards, place them on top of the pack.
Now, you may turn the apparent red card over and reveal that the queen
has returned a final time.

Comments: This effect should be performed briskly and without hesitation.

If the pace is quick but not hurried and the cards are handled in a uniform and
natural manner, the spectators will not suspect the use of an additional card.

61