1

©Copyright, Lee Asher, 2005

All rights reserved. With the exception of short quotations for

the purpose of review, no part of this manuscript, text or
photo, may be reproduced in any form or by any means,
electronic, stored in a retrieval system, photocopying, or
otherwise, without the prior written permission of the pub-
lisher. No part of this manuscript may be transmitted in any
form or by any means, electronic, photocopying, or otherwise,
without prior permission of the publisher.

This manuscript is designed to provide authoritative informa-

tion with regard to the Diving Board Double. It is sold with
the understanding that neither the author, the publisher, nor
anyone involved with this manuscript is responsible for
anyone engaging in dangerous acts with the acrobatic Diving
Board Double. The author, publisher, or anyone involved with
this manuscript shall not be liable or held accountable for any
such consequences .

Diving Board Double’s Broadcast rights (includes: Internet,

Television, Video, or any other medium known or to be in-
vented) shall be reserved by Lee Asher. Only written consent
from Lee Asher authorizes permission for Broadcast.

Library of Congress Catalog Card Number: 337

Asher, Lee.Catch Diving Board Double Asher.

Sleight of hand

Printed in the United States of America

2
 The
Diving Board Double

by

Lee Asher
with help from Kip Pascal

3
 Table of Contents

Dedication...........................................................................5

Acknowledgements...........................................................5

Introduction........................................................................6

Interesting Trivia................................................................8

Basic Technique (Non-acrobatic)....................................12

Advanced Technique (Acrobatic)...................................22

TIPS.....................................................................................27

Bonus Ambitious...............................................................31

The Exercise.......................................................................36

Behind The Back...............................................................41

Deck Vanish.......................................................................44

Where Do I Go From Here?.............................................47

About The Author............................................................48

Contact Information.........................................................49

References..........................................................................50

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 Dedication
This PDF is dedicated to those who put in the required practice.
You’ll soon understand that it was well worth it.

Acknowledgements
I would like to thank the following people for their generous
help with this project:

Steve Fearson
Aaron Fisher
Billy Goodwin
Justin Hanes
Hart Keene
Richard Levin
Stephen Minch
T.G. Murphy
West 11th Print Shop
Kip Pascal

The Folks

And As Always…the Esteemed Members of the Magic Mafia

5
 Diving Board Double

Introduction
Thank you for purchasing the Diving Board Double manu-
script. Some of you have seen my Ambitious Card sequences
in 5 Card Stud and Le Asher: the French Tour Booklet. While
many ambitious routines are complicated and difficult to
watch, the effects in the aforementioned titles have cards
visually rise cleanly, directly, and without any confusion!

All of this is based upon having a strong foundation in the

Diving Board Double. Not only is the Diving Board Double
(referred to as DBD from now on) a strong, convincing tech-
nique, but it has a variety of applications. You can say it has
several faces. This manuscript will focus on what I consider to
be the two most important applications. Others will be dis-
cussed, but not in great detail.

Let’s talk about these two applications for a moment.

I predict, based on the study of my demographics, that most

people under the age of 25 will flock toward the acrobatic
application of the DBD. The acrobatic version will remind
most that anti-gravity is possible. (Only you will know it’s a
double lift.) Not only does it show off your skill, but it will
impress anyone within your radius. By the way, it’s a wonder-
ful visual icebreaker, drawing people toward you without
saying a word.

Now I also predict, anyone over the age of 25 has already

stopped reading this manuscript. In which case, they will miss

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the next comment. The true strength of this technique lies in
the non-acrobatic version of the DBD.

This bears repeating, so I will state it again.

The true strength of this technique lies in the non-acrobatic

version of the DBD. When working, I most likely use this
version over the acrobatic version - 9 out of 10 times.

Remember, you are the magician, paid handsomely to perform

miracles. There should be no room for error. The acrobatic
version rents a 13-story apartment complex when it comes to
room(s) for error.

The non-acrobatic version works every time, no questions

asked. I consider it the workhorse of all the sleights in my
arsenal. It has become just about the only double lift I use
when performing. I don’t even think of trying to execute an
acrobatic DBD while performing at a gig.

Please don’t let me scare you off from trying the acrobatic
DBD. Yes, you can learn to hit the acrobatic version just about
100% of the time - I usually do. My hesitation to overuse the
move in a lay context comes from being a perfectionist, espe-
cially when it comes to performing for the public. Also, there
is no reason to make every card you turn over go airborne.

You are now on the way to developing one of the most visual
and highly regarded double lifts in use among professional
close-up artists today.

Have Fun...

Lee Asher

Eugene, Oregon --January 28th, 2005

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 Interesting Trivia
As cliché as it may sound, in order to transform yourself into
the best sleight-of-hand artist possible, you have to educate
yourself. Knowing and understanding our magical history will
help keep the art of magic alive, and also pay tribute to the
creative ancestors who came before us. I will keep the history
lesson to a minimum because I know how eager you are to get
right to the meat. Still, I urge you to go out and seek historical
information - further your knowledge. Go above and beyond
these bits and pieces, and I promise you will find ideas you
never imagined.

The Origin of the Double Lift

Research provides us with plenty of proof that the double lift
was invented and reinvented many times throughout history.
Many magicians, in multiple countries, lay claim to this neces-
sity of card magic.*

I am going to share one of my seminar experiences with you

now.

During my last several hundred lectures, I habitually asked

the audience to answer this question, “Who was the first to
publish the Double Lift?”

Do you know?

Some attendees believed Dai Vernon was the first to publish

the move. This was usually the first answer called out. I could

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understand how they would have thought it might have been
Mr. Vernon, since he was so influential throughout his time
period. He was also the one to modernize the double lift.

Were you thinking Dai Vernon, too?

He isn’t the right answer.

Others then immediately guessed Daryl, but I reminded them

Vernon was much older than Daryl - so they began guessing in
the opposite direction.

Without fail, Hofzinser or Erdnase would now receive men-

tion. Neither were the first to publish the move.

I also heard guesses ranging from Robert-Houdin to Harry

Lorayne, with Charlie Miller and Slydini in between.

No, no, no, and no.

It’s time to tell you who it is…

Modern research indicates Englishman Richard Neve was the

first to introduce the double lift into mainstream magic litera-
ture in a book called The Merry Companion (circa 1716). I
should also point out he has the honor of being the first to
publish the Ambitious card plot.

The Diving Board Double History

Cut to the summer of 1995, I was attending the University of
Nevada Las Vegas. During one of the many sessions I had in
my dorm room, the diving board double was born. At first, I
did not understand what I had, only that the two cards sat
side-jogged as one on top of the pack. With some time, it
developed into the non-acrobatic version of the DBD.

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As I was perfecting the non-acrobatic version, I had a seren-
dipitous occurrence while practicing. The double flipped into
the air, and then split. Again, I wasn’t sure what I had; I just
knew it was something.

NOTE: I’ve discussed the history of the double

lift, and the history of the diving board double
lift. Some of you may be wondering if I will
discuss the history of the diving board itself.

Actually, while I was writing this manuscript,

the original inventor of the Duraflex Diving
Board, Raymond C. Rude, passed away. This
was the original diving board incorporated into
the Olympics in the early 1960’s. Let’s all hold
our breath for a silent moment in memory of
Raymond C. Rude.

After time, practice, analysis, and evaluation, I knew both

versions of the DBD intimately. I have explored every little
nuance from landing techniques with the acrobatic version to
exact finger positions for proper execution of the non-acrobatic
double. I have ‘lived’ with this move for some time now, and
know when to use it - and when not to (for an example of
when not to use this technique, I refer you to the TIPS section
on page 27).

Both versions of the diving board have their time and place in
the scheme of things.

As mentioned before, I will not perform the acrobatic version

of the double at a paid gig. The diving board will not stay
together 100% of the time — its technique relying on the
physical condition of the cards. Cards can’t always be perfect,
and neither can I. The patrons are paying way too much
money for me to drop the diving board into someone’s soup.
Again, time and place.

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If you are at the magic meeting, or sessioning with someone,
and want to impress an onlooker — you might want to flip the
double a foot or two in the air. It’s all up to you, and your
preferences. With time, you will develop a sense of when to
use it for each situation. For now, I am just here to teach the
proper execution.

Grab your deck, let’s get to it….

*Noted magic author Stephen Minch provides a great historical resource on

the double lift in Daryl’s Ambitious Card Omnibus (1987).

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 Basic Technique of the
Non-Acrobatic Diving
Board Double
The Shallow end

Turning the Diving Board face up

Hold the deck face down in your dealing hand. (For this
manuscript, we will assume you’re right handed, which
means you hold the deck in your left hand for dealing.) Your
left thumb should rest along the long left side of the deck (see
photo 1).

photo 1

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Move your thumb from the left side, and bend it so its tip (the
fleshy part) touches the top two cards, somewhere in the
middle - along the left side border (see photo 2).

photo 2

It might feel strange bending your thumb into this particular

position, but with some practice and a little stretching, the
tense feeling will eventually go away.

Begin to raise the top cards with your left thumb - the goal is
to lift the top two cards only, making it seem as if they are one.
Practice will allow you to lift two cards without hesitation.
Believe it or not, the fleshy tip of your thumb is quite sensitive.
It can feel the difference between one and two cards.

In the past, I’ve noticed some people having

trouble getting the break straight from the
thumb. I’ve recommended in preparation for the
DBD, to get a fourth finger break underneath
the top two cards first. For example, you could
thumb count two cards, you could riffle up the

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 back of the deck, or just push off the top few
cards and obtain the break that way - I leave this
to your discretion. Basically, if you can’t get a
break with your thumb, just get it first with your
pinky. Now that you have a fourth finger break,
go back to the beginning of these directions, and
you will find lifting two cards will come much
easier.

Once you have the break on the top two cards with the left
thumb, extend your hitch-hiking digit out to its fullest, coming
to rest in a half Charlier-shift kind of position. The double is in
the same position used in the Finley Tent Vanish. Your, second,
third, and fourth fingertips trap the long right side of the
double so it creates a hinge (see photos 3a and 3b).

photo3a

photo3b

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Pay attention to where your thumb actually lays on the
double. Make sure it touches the center of the card. If your
thumb sits off to either of the sides, it makes the technique
difficult, and ultimately will not be executed to perfection.

Move your left first finger underneath the deck, and position
its tip on the upper right corner of the face card of the deck.
With your forefinger, begin pushing the deck up against the
double using a Charlier-shift type of action. The deck will
move closer to the thumb, and at the same time, the double
will begin to bow (photo 4).

photo 4

The movement of the deck pushing up against the double will

give the impression that it’s being squeezed. This is not the
case. Do not bend the double with your fingers.

This bow is very important later on for maintaining the single

card look. It’s also important because it will help both cards
stay together during the whole technique. You will really
appreciate the bow when performing the acrobatic version of
the diving board.

I am about to describe two actions, which should be per-

formed in rapid succession. Let me explain the two move-
ments first, and then I will discuss their precise timing.

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First, push the pad of the thumb straight down to the top of
the deck, pinning the two cards (as one) firmly between the
thumb and the deck. Your other fingers prepare to let go of the
right side of the double (see photo 5).

photo 5

Remember, the left thumb should sit somewhere along the

middle of the long left side border – the closer to the center,
the better (see photo 6).

photo 6

The second step is to release of the long right side of the

double with your second, third, and fourth fingers so it snaps

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up, simulating a diving board’s movement when in use. Don’t
let go of the pressure being exerted by the left thumb, continue
to pin the two cards to the top of the deck.

Now, let’s talk about the timing necessary to get to the point
where two cards face down, sitting as one, side jogged half its
width to the right (see photo 7).

photo 7

If you release the right side of the card from the fingers before
pinning down the left side, the double will flip off the deck
causing it to become aerial. We will discuss this further in the
acrobatic version of the diving board double. This isn’t what
you want when performing the non-acrobatic one.

On the other hand, if you release the right side of the card
from the fingers after pinning down the left, the double will be
horrifically bowed with little chance of it regaining normal
shape.

Remember to execute these two motions in rapid succession.

The instant one side is pinned, the fingers let go of the other
side. It looks as if the top card is now jogged on the side of the
deck.

Use your right hand to turn the double face up (see photo 8).
Square it with the deck. Don’t worry; you don’t need to hold a
break in order to turn the double face down - thanks to the
bow.

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 photo 8

Turning the Diving Board face down

You could just turn the double face down like any other
double lift, but then you have a bow left in your double. This
is perfect if you need to get a break again. If not, you have a bow
left in your double.

What’s great about the DBD is if you execute it again, the bow
will automatically be removed from both cards - returning
both cards to original condition.

It’s simple. Perform the DBD to turn the cards face up, then
perform the DBD to turn them back face down.

It should be easy to turn the double back face down, because

of the bow placed in it. To do so, you will use the same actions
you used to turn the double face up. I’ll describe it again.

Move your thumb from the long left side and bend it so the tip
touches the top two cards, somewhere in the middle along the
left side border.

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When you squeeze the long right side of the double with your
second, third, and fourth fingers to get into the hinge position,
an instant separation appears automatically near your thumb.
This makes it simple to obtain your break (see photo 9).

photo 9

Repeat the actions of getting the double into a half Charlier-

shift position, by moving the first finger underneath the deck.
Execute the Charlier-shift action by raising the deck to the left
thumb. This action is what placed the bow in the card, and it’s
this same action that will take the bow out of the cards (see
photo 10).

photo 10

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Push the pad of the thumb straight down to the top of the
deck, pinning the two cards (as one) firmly between the thumb
and the deck. Your other fingers prepare to let go of the right
side of the double (see photo 11).

photo 11

Let go of the long right side from the second, third, and fourth
fingers so the double snaps up, again simulating a springing
diving board.

You should now have two cards face up, squared as one, side
jogged for half its width to the right (see photo 12). Use your
right hand to turn the double face down.

photo 12

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Once you have a foundation in the basic technique of the
diving board double, you can move on to the acrobatic ver-
sion.

Click here to view the performance of the basic technique.

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 Advanced Technique:
The Acrobatic Diving
Board Double
The Deep End

Even though there is one slight difference between both

methods, a considerable amount of practice is required for the
acrobatic version. Execution isn’t the toughest part, controlling
the catch is.

It’s like swimming in the deep end for the first time. Everyone
tells you it’s the same motion, but it won’t feel the same. It’s
scarier than being in the safety of shallow water. Having the
card leave the safety of the deck and rotate multiple times in
the air is much scarier than pinning it solidly to a secure, side-
jogged position on top of the deck.

As in the non-acrobatic version, hold the deck in dealing

position. Your left thumb rests along the long left side of the
deck (photo 13).

photo 13

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Repeat the steps described for the non-acrobatic diving board
double to the point where you have the two cards in a half
Charlier-shift position. Move your first finger underneath the
pack, and then begin the Charlier-shift motion as before.

The deck will move closer to the thumb, and at the same time,
the double will begin to bow. The long right side of the double
gets pulled back underneath the deck by the second, third, and
fourth fingers (photo 14).

photo 14

Here is where you will find the difference between the ver-
sions of the DBD.

Instead of pinning the double to the top of the deck with the
tip of the thumb, allow the thumb to float a half of an inch or
less above the deck. Hold your thumb in position and make
sure it does NOT pin the card to the deck. When you release
the double with your fingers, the two cards will flip out from
underneath the thumb and rotate as one up into the air (photo
15). Remember, the left thumb should sit close to the middle
of the long left side border - the closer to the center the better.
Precision matters.

Your finger positions are crucial. If you are having a launch

and rotation problem, I would start by checking your finger
positions.

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 photo 15

Catching the acrobatic double

Your goal is to catch the double on the top of the deck without
having it split and letting everyone know it was two cards. I
like to catch the cards after four rotations; we will talk about
this more in the TIPS section on page 27.

Trying to snatch the double mid-flight is absolutely the worst

way to achieve your goal of catching it square. Rather than
plucking it, you must let the double land softly on top of the
deck.

It’s a question of physics when catching the double.

I use the same physics principle to catch the double as an

American football receiver does when catching a pass. We
both use inertia to slow the object down before grasping it.
The only difference between our motion is the receiver moves
laterally with the ball, while I move up and down with the
deck. Ultimately, this slows the fall and allows the cards to
land softly on the top of the deck.

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This is the same inertia used when catching a baseball in a
glove, rolling with a punch to lessen or deflect the force of a
strike, and even the same principle used to catch a raw egg in
your hand during a game of egg toss.

Method for catching

Once in the air, adjust the pack so it’s directly underneath the
rotating double. After the double reaches its apex and gravity
takes over, the cards will dive toward the floor. While holding
the deck, move your hand downward too, matching the
direction the double is headed (see photo 16).

photo 16

This downward motion of the hand should be no more than

two to three inches - that’s all that’s needed to provide enough
cushion.

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As the double makes contact with the deck, the hand comes to
a stop. Let the double rotate/land on to the top of the deck. It
will softly land flat on top, and should not split.

As soon as the double touches the top of the deck, use your
left fingers like a cage to ensure catching it (see photo 17). This
cage-like grip squares the cards immediately. This is a built-in
safety feature of your hand used to correct a possible card
separation on a land.

photo 17

Click here to view the performance video of the advanced

technique.

26
 Tips for Improving Your
Diving Board Double
Technique
Face up vs. Face down
Once you get comfortable launching and catching the double,
the next step will be to control which side it lands on. Eventu-
ally, you want to start in a face down position, launch and
have it land face up. Then you want to re-launch it from a face-
up position, have it revolve in the air, and then land face
down.

This will take dedicated practice; there are no special secrets.

If you can perform the acrobatic DBD consistently, you will

notice it only flips a certain amount of times before gravity
takes over, and pulls it back down. Normally, I get my double
to revolve in the air about four times before landing.

Let’s explore the idea of letting the double revolve one extra
time before catching it. We’ll assume you are hitting four
rotations most of the time. By allowing the card to rotate over
one more time, it lands opposite of what position it started in.
In your case, letting it flip five times instead of four will make
it land face up.

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Start with the cards face down, and then execute an acrobatic
DBD.

Drop your hand several inches, giving the double room for an
extra revolution.

Getting this extra revolution is a knack, but as with any other

skill, you will gain confidence with practice.

TIPS
Tip #1

Let the tension provided by the thickness of the cards work to

your benefit.

I’m the laziest guy in the room, and also a big fan of letting the
cards do the work for me. If I have to exert anything more than
a simple finger action in magic, I feel overworked. Many
people have a tendency to use their wrist to supplement the
power needed to get the double in the air. Or even worse, they
just throw it in the air. Let the flexing of the cards do all the
work for you. If you execute the technique properly, you won’t
need any supplements.

If you find yourself throwing the cards into the air, you can
correct this with twenty minutes of practice. All you have to
do is plant the back of your hand against a table. Try and
execute the acrobatic diving board without breaking contact
with the table.

Tip #2

Whether performing the acrobatic or the non-acrobatic version

of the diving board, I prefer to use it with the majority of the

28
deck. I favor using at least half of the deck, but a full one is
even better.

I never use these handlings for small packet work. Because of

the use of the Charlier-type action which exerts specific pres-
sure to achieve the bow, you need a thicker block of cards. You
could do it with a small packet of cards, but why? Isn’t it
better to choose the best technique for the job?

Keep the DBD reserved only for when you have the bulk of
the deck in your hand.

Tip #3

The DBD can be performed with two, three, four, or five cards
- any more than five cards and you aren’t really deceiving
anyone. The goal of the DBD is to make multiple cards look
like one. Focus on the singular look, and you will fool the
world.

Tip #4

The type and age of cards used play a major role in the
amount of height you achieve.

If the deck has been beer stained and re-dried, your chances of
hitting a perfect acrobatic DBD are slim.

The paper a card is printed on is called its stock. Playing cards

come in all different types of stocks. Therefore, some brands of
playing cards are thicker than others. For instance, European
companies like Carta Mundi or Piatnick use a much thicker
stock to print their cards on than American brands like Bicycle
or Gemaco.

Usually, I use American manufactured cards, so I consider four

rotations in the air a normal height for my acrobatic DBD.

29
Again, the thicker the cards you use, the higher you can spring
them. With a deck of Carta Mundi Desert Inn cards, I could
easily receive eight to ten rotations - the stock is twice as thick
as normal.

30
 Bonus Ambitious
Sequence Using the
Diving Board Double
The sequence about to be describe is something I have never
published before. Most of my magician friends have never
seen it either, because I only perform this for laymen. The
unique aspect of the Diving Board is its one-handed nature.
The Fugazzi Sequence will show you.

The Fugazzi Sequence

Hold the deck in dealing position. Execute a non-acrobatic
DBD, and then turn it face up. Square the cards with the deck
and have someone sign their name on the face-up card with a
marker. The deck should still be held in dealing grip (see
photo 18).

photo 18

31
Place the right hand over the pack, and grasp it in Biddle grip
(see photo 19).

photo 19

Swing-cut the upper half of the pack into the left hand using
your right first finger. The remaining half should still be held
Biddle style, in the right hand (see photo 20).

photo 20

Execute a non-acrobatic DBD in the left hand, so the face-up

signed card sits half its width, to the right.

Use the packet in the right hand to flip the double face down
by going beneath, making contact between the two, and then
using an upward motion to flip it completely over face down -
back onto the left-hand packet (see photo 21).

32
 photo 21

Push off the top card of the left-hand packet with the left
thumb. Insert its lower right corner into the upper left corner
of the packet in the right hand (see photo 22). The card should
be out-jogged, and just held in the right packet by a small
edge.

photo 22

The spectator thinks this is his signed selection. In reality, it’s

not. The signed selection actually sits on top of the left-hand
packet.

With your left fourth finger, pull down approximately half of

the packet in your left hand, causing a break to open randomly

33
where in the middle. Insert the out-jogged card and the whole
right-hand packet all the way into the break, completely
squaring the deck (see photos 23a and 23b).

photo 23a

photo 23b

The work is finished; all that’s left is for you to call attention to
the magical occurrence. Snap your fingers, gesture with the
hand - whatever you use to represent a magic catalyst during
your ambitious routine.

Now show the top card is the signed selection (see photo 24).

34
photo 24

35
 The Exercise
(Snap with a DBD)
St. Louis magician T.G. Murphy created a card move called
The Snap* that is very reminiscent of a popular skateboarding
move called the Kick Flip.** Basically in a kick flip, you use a
kick to revolve the skateboard 360 degrees and then land back
on it - all the while moving several miles per hour. Mr.
Murphy used this principle in a great flourish called THE
MIDAIR TRIPLE CUT. Within this cut, he more specifically
uses a move called the Snap to flip a packet of cards 360
degrees into the other hand. Wouldn’t it be fun to fantasize
that modern skateboarding techniques come straight from the
magician’s repertoire. Snap as mucho style.

For this exercise, the deck only revolves 180 degrees instead of
360 degrees. Also, the deck stays in the same hand; it doesn’t
flip from one hand to the other.

I only use this as an exercise; its applications are truly limited

in the real world.

Breif Description of the Snap

Hold the deck in left-hand dealing grip, but your first finger is
bent underneath. Your second, third, and fourth fingers pull
down the long right side of the deck. Your thumb, which holds
the left side of the deck, also applies a similar downward

36
pressure. As your first finger applies an opposite pressure to
the deck by pushing from underneath, the deck raises to a
slightly convex position (see photo 25).

photo 25

The pressures here are much lighter than what’s used to create
the bow in a DBD.

If you allow the first finger to push up and out from under-
neath the deck, and then release the long right side of the deck
before the left side of the deck - the whole deck will flip up
and rotate 180 degrees (see photos 26 a-e).

photo 26a

37
 photo 26b

photo 26c

photo 26d

38
 photo 26e

Finally, it will land back in your hand in dealing grip. Actually,

it almost looks as if it doesn’t leave the hand’s vicinity at all.
It’s a tight rotation.

Super Practice Tip for the Snap

Better use of your time can be allocated

practicing more repetitions of the Snap rather
than picking up cards around you constantly.
Simply, place the deck back into the box it came
with, and then practice the Snap. Because the
deck is now cased, cards won’t fly all over the
place.

It also teaches you within a few minutes, the

proper pressure to apply in order to get the cards
to flip up and over.

Remember, the right side is the side that flips up

first.

39
Combination
Combine the Snap with the acrobatic diving board double.

With the deck face up in your left hand, execute an acrobatic

diving board double.

While the double is in the air, execute the T.G. Murphy Snap,
flipping the whole deck from face up to face down as the
double lands.

The deck is now facing down, and the double has landed on
top of the deck.

*T.G. Murphy’s book Imagication ‘MidAir Triple Cut’ 1988 (pg.254) More
specifically -’The Snap’. Mr. Murphy originally published the Snap in a
manuscript written in the mid-70’s.

** The classic skateboarding move is credited to skateboard legend Rodney

Mullen, who invented it in the mid-1980’s.

Click here to view the performance of The Exercise.

40
 Behind the Back
Something I demonstrate at most of my lectures is flipping the
diving board from behind my back, over my shoulder, and
back onto the deck. This might be one of the most impossible
looking stunts I perform the whole evening. In reality, it’s no
harder than executing and catching an acrobatic DBD.

This application is definitely for the juggler mind-set.

I will explain this in three phases. At the end, it’s up to you to

combine all the phases with practice so you can perform an
acrobatic DBD behind your back…and catch it on the deck in
front of your body.

Click here to view the performance of Behind the Back.

Phase 1: Tossing from behind the back

You need to learn to throw an object from behind your back, so
it comes up over your right shoulder. It should clear the
shoulder with some room, and then descend in front of you.
Grab a tennis ball and practice with it first.

It’s often hard for beginners to throw an object from directly

behind and have it land in front of you, within arms reach. It
feels awkward to stretch your hand back behind you. With
some stretching, and some practice, the tense feeling will go
away.

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Make sure when you throw the tennis ball from behind, use
more of a forward motion than a sideways motion – not too far
forward, or it will not land comfortably within your grasp. If
you have to chase the ball forward, it’s not as stylish.

Once you get the feeling of tossing from behind the back with
a tennis ball, it’s time to grab your deck and try it with an
acrobatic DBD.

Phase 2: Launching from an awkward

position
Up to this point you have been practicing the DBD with the
deck held in front of your body. Most likely, you have been
launching and catching the acrobatic diving board at your
navel’s level. This is the area where I find it most comfortable
to launch and land.

But, now you need to do some practicing in other positions.

Place your hand behind your back, somewhere around the

base of the spine. Practice launching an acrobatic DBD from
that position. Don’t worry about catching it yet, that will come
next.

Learn the force at which you have to release the diving board
so it will clear your right shoulder and drop in front of you.
Just worry about the force needed to get it up there; don’t
worry about catching it yet.

Once you can get the cards to clear the shoulder, try and
practice getting them to land directly in front of you.

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Phase 3: Combining all the elements
It’s time to place all the elements together. Once you get the
double clearing your right shoulder, and dropping directly in
front of you, apply inertia to catch it. Phase three is all about
combining the elements into one smooth sequence.

From start to finish, the behind the back DBD should not take
more than two or three seconds to perform.

Start with the deck in front of you. Obtain the thumb break as
the deck moves behind your back. You should have the deck
in the half Charlier-shift position by the time your hand
reaches the small of the back. Without pausing, launch the
DBD from behind your back, allowing several rotations. As
fast as you can, remove your left hand from behind, and
immediately place it beneath the falling double. Move your
hand downward, matching the direction the double is headed.
This downward motion of the hand should be no more than
two to three inches – again, it’s all that’s needed to provide
enough cushion.

As the double makes contact with the deck, the hand comes to
a stop. Let the double land softly on top of the deck.

I would like to make one last comment on

performing the acrobatic DBD behind the back -
your footwork. I mentioned earlier, it doesn’t
look stylish if you have to run to catch the
diving board. Actually, I strive never to move.
On rare occasions, I might take a single step in
some direction to catch it, but again, I try not to.
It’s most impressive when the only thing
moving is the double.

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 Deck Vanish
If you thought launching an acrobatic DBD from behind was
hard, I have one more application which is not for the faint of
heart.

Once you’ve perfected launching and catching from behind,

you can add one step and actually turn this feat into a genuine
magic effect.

In preparation for this effect, remove all contents from your

back left pocket. You need to prop this pocket open - prefer-
ably with something you are already carrying. A cell phone,
Chapstick, another boxed deck of cards, a credit card, or a long
car key are some of the items you carry and can use to prop
open your back left trouser pocket (see photo 27). The idea is
to create a big opening within the pocket so you can easily
dump the deck of cards into it.

photo 27

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Cull the four aces to the top of the deck before you begin. Keep
a break with your fourth finger underneath the aces.

Perform the acrobatic DBD behind the back with the four aces,
and at the moment you release the quad-lift, dump the deck
into the left pocket (see photo 28). Leave the deck there, and
then move your left hand out from behind fast enough to catch
the aces dropping in front of you.

photo 28

You only need to get the corner of the deck into your pocket;
enough so that if you take a few steps away, it won’t drop on
the floor.

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Catch the aces by allowing them to fall into your cupped
hands. This is a wonderful pose (see photo 29).

photo 29

Catching the aces cupped frames the effect so you are showing
both hands at the same time, and the deck is gone – all with-
out verbally saying it.

It’s also a good applause cue because your hands are out-
stretched in front of you — right as the effect finishes.

The four aces are now ready for anything you need them for,
without a deck. Personally, I like to perform the Asher Twist
right after I vanish the deck. It’s a great solve for what to do
with the deck when you only need four cards to perform the
Asher Twist.

On the flip side, the Asher Twist is a great solve for what to do
with four aces when you suddenly don’t have the deck any-
more.

I don’t like to call attention to the deck vanishing. Instead, I

prefer to be subtle about it. It’s more my style to let them
notice the deck has vanished. By letting them realize it first,
you strengthen the impact of the effect.

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 Where Do I Go From
Here?
Now that you understand the basic concepts of the DBD plus
all of the applications, I urge you to go and practice them to
near perfection. The faster you start working on these tech-
niques, the sooner you will master them.

If you have any questions about the DBD, please email them to
Lee@LeeAsher.com

I also love to hear about good applications you might have

developed with the DBD. Since its inception, I’ve seen people
kick the acrobatic DBD back into the air with their foot. I have
also seen people perform color changes with the acrobatic
DBD. Again, I urge you to go and practice. Good luck.

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 About the Author
Lee Asher was born into the art of magic. His father, Mark,
encouraged Lee to embrace magic at the age of seven. This is
what helped to shape Lee into the magician he is today.

In 1991 and 1992, Lee was the International Brotherhood of

Magicians Junior Close-up Champion making him the young-
est competitor ever to win two years in a row.

After graduating High School, Lee moved to Las Vegas,

Nevada for University. While there, Lee spent time with some
of the greatest magicians in America. While studying, Lee
found time to perform and keep his skills sharp. He was one
of the two original Walk-Around Magicians at Caesar’s Magi-
cal Empire at Caesar’s Palace.

Once college was finished, Lee chased his heart to Paris,

France. While there, he studied and shared his magic with
some of Europe’s finest magical minds.

Now Lee Asher resides in Eugene, Oregon where he continues

to advance the art of magic. Lately, he has been working on a
new concept called Pulp Friction.

48
 Contact Information
If you have any questions or comments about the Diving Board
Double, please contact me.

Lee Asher
1541 Bailey Hill Rd
Apt 6-DBD
Eugene, Or 97402
USA

Lee@leeasher.com

www.LeeAsher.com

49
 References
All items below use the Diving Board Double:

Slap Happy – Five Card Stud DVD

Silver Surfer - Five Card Stud DVD

Face-down Silver Surfer – Close Cover before Striking

Booklet

Riding the Ripple – Le Asher Booklet

First reference to Diving Board - Le Asher Booklet

Asheresque – Thinking Out Loud Booklet

Revolutionary Change – Well Done Video

http://www.leeasher.com/divdoubvid.htm

http://www.leeasher.com/acrdoubvid.htm

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