Thunderbird :

The Modern Ace Production

© Lee Asher 2007

All rights reserved. With the exception of short quotations for the purpose of review,
no part of this e-book, text or photos, may be reproduced in any form or by any means,
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Thunderbird’s broadcast rights (including Internet, Television, Video, or any other
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from Lee Asher authorizes permission for broadcast.

Asher, Lee.

Thunderbird

Magic

Cards

Ace

Produced in the United States of America

Dedication:

These following words are written for those willing to practice, to attain perfection.

-Lee Asher

January 1, 2007

(Toronto, Canada)

Table of Contents

What’s Thunderbird?

Introduction

The Tenkai Palm

Page 1

Thunderbird’s Five-Step Formula

Page 3

Further Thoughts on Tenkai Palm

Page 9

Make your Tenkai Palm comfortable

Page 11

A Small T-bird Variation

Page 12

Credits

Page 13

Acknowledgments

Page 14

What To Do Now?

Page 15

About the Author

Page 15

Other Lee Asher Products

Page 16

Click on the section titles to jump the that page

What is Thunderbird?

Thunderbird is the Modern Ace Production.

Imagine if you really had magical powers. How would you make the four aces
appear?

Picture bringing your hands together, and an ace magically appears between them.

Without hesitation, you take this newly-produced card, and split it into two aces. The
audience is riveted - they do not want to blink for fear of missing your next move.

The third ace materializes out of thin air - at your fingertips.

For the finale, the cards are held motionless and the final ace visually appears with
the other three aces. Your audience stands speechless - they cannot believe what they
have just witnessed.

Four aces sit attractively displayed at your fingertips. No gimmicks or trickery - just
well-composed sleight of hand.

In less than thirty seconds, you have engaged your audience with some of the most
elegant and powerful card magic possible.

They swear it is some sort of high-tech optical illusion, but you secretly know - this is
Thunderbird: The Modern Ace Production.

Introduction

In 1995, while living in the freshman dormitory at the University of Nevada Las Vegas, I
stumbled upon a handling for Cliff Green’s Phoenix Aces that would change my feelings
about card productions forever.

My motivation for a bare-handed ace appearance was to launch right into the Asher
Twist after producing four aces. Not satisfied with all the conventional methods, I toiled
tirelessly to invent and design a production that would fit specific needs.

Work began on Thunderbird. In the back of my mind, I also wanted to create a card
piece specifically designed as an opener for the competition at the Olympics of Magic
– Fédération Internationale des Sociétés Magiques, (F.I.S.M.) Dresden, Germany 1997.

During the creation process, Thunderbird: The Modern Ace Production took on various
faces and shapes, needing two-plus years to perfect.

As time passed, I felt compelled to perform the routine as much as possible.

Along with Catch 33 (my Three Card Monte routine), Thunderbird was performed
extensively at Caesar’s Magical Empire. One evening, a famous New York magician,
Anthony ‘Chappy’ Brazil, commented on how it was a ‘modern version’ of Cliff Green’s
classic effect, Phoenix Aces. He came up with a very fitting title – Thunderbird: The
Modern Ace Production.

Directly after graduating from University, Thunderbird made its debut on the Five Card
Stud video.

You may ask how I placed at F.I.S.M. in 1997.

The truth is, once perfected, this routine never saw any type of competition in Dresden,
Germany. With the two years of development just for Thunderbird, there was no time
to work out the rest of the act!

As a final note, you cannot win F.I.S.M. with thirty seconds of magic, even if those
moments are tremendous. Ah, but what an opening!

Thunderbird by Lee Asher

1

The Tenkai Palm

The Tenkai Palm is the core technique utilized for concealing the packet of aces.

The Tenkai Palm was most likely invented
in the 1920s or 1930s, but not published
until 1953, in Six Tricks by Tenkai, written
by Robert Parrish.

While the following explanation below
is comprehensive, the whole action of
Tenkai-palming a card happens in a
heartbeat.

Place the packet of aces widthwise
between your right thumb and palm,
as shown in photos one through three
(Photos 1 and 2 show the position of
the packet).

Your right thumb extends across the
short end of the packet, its tip contacting
the packet’s outer left corner. The outer
right corner of the packet is against the
palm of your hand. Pressure from the
pad of your thumb and joint keeps the
right long side of the packet against your
palm, holding it secure and squared.

Place your right hand in front of you
with its back toward the audience; your
forearm should be above your waistline.
This position will conceal the palmed
cards from the front (photo 3). The
length of your right arm will screen the
packet from those on your right side.

Teijiro Ishida Tenkai* was born in 1889, the same

year Japan received its first European-style

constitution. He became a professional magician

and a clever creator of all types of magic.

In 1924, Tenkai toured the United States of

America as a member of the internationally

acclaimed Japanese Tenkatsu troupe. He stayed

in the U.S. for the next thirty-four years before

returning to Japan.

Tenkai became popular for his skill with cigarettes,

watches, and his famous rope though neck.

However, he shall always be praised for his

revolutionary work with a pack of playing cards.

His ideas are still used to this day and continue to

be benchmark techniques for many creators.

Tenkai Ishida passed away in 1972 at the age of

83. The legacy he left paved an inspirational path

for others to follow.

He was once quoted as saying, “Magic is not tricks;

it is a way.”

*Tenkai is pronounced (Ten-k-eye)

Information by Hideo Kato

1

2

3

2

Thunderbird by Lee Asher

As long as you keep the packet of cards parallel to the floor and your fingers slightly
curled and draped over the front edge, it will not be visible to the audience.

When palming with your right hand, the critical angle is on your far left. Vice versa
when palming with the left hand. Spectators to your far right position may see the
palmed packet.

To cover the bad angle, take a few steps to your left and position your right shoulder
and foot directly toward the leftmost spectator. This will insure the palmed packet is
concealed from the entire audience’s vision.

Though your angles are crucial, you will be able to control them once you become
comfortable with the palm. In another section of this PDF, we will discuss more tips on
making sure the palmed cards won’t flash during your performance.

When first concealing cards in Tenkai Palm, there might be
some self-doubt as to whether or not they are truly ‘hidden’
from the audience’s view. Please don’t worry; originally, I
had similar feelings when learning this technique. With
time, you will come to trust all the practice you put into
your Tenkai Palm.

Keep the front edge of the Tenkai-palmed cards on the same
plane as the spectator’s line of vision, and they will remain
completely out of sight.

Practice in front of a mirror.

With the cards palmed, look into the mirror. Move your wrist up until you flash the
packet from underneath. Now move it all the way down until you flash them from
above. You’ve just been given a quick lesson in exposing the packet.

Rotating the hand will flash the top or bottom of the
packet as well. Experiment as much as you can with the
angles in front of the mirror.

Eventually, find the point at which the packet disappears
from sight, while keeping your hand in a comfortable
and natural position. With time, you’ll trust the packet
will be concealed.

While practicing in front of the mirror, bend your right wrist inward a bit. Notice how
this gives the illusion that you have nothing in your hand. You can even spread your
right hand fingers slightly without flashing the packet.

Experimentation is not only essential; it is the best way to learn Tenkai’s technique.

For more tips on keeping your cards hidden while in Tenkai Palm, see

page 9.

If you’d like to see a video of Thunderbird from the performer’s point of view, please
click on the link:

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

Watch the explanation video, and then read the detailed text below for a clearer
understanding of the inner workings of Thunderbird.

“Begin simply by accepting

the fact that a playing card

is no thicker than a piece

of ordinary thread, and

when held on a horizontal

plane, that is to say flat,

is pretty nearly invisible,

even without hand cover.”

– Ross Bertram

For more information on the

Tenkai palm, see Chapter Six of

The Dai Vernon Book of Magic

(Ganson, 1957, pp. 73-80) and

Chapter Seven of Bertram on

Sleight of Hand (1983, pp. 140-

187).

Thunderbird by Lee Asher

3

Thunderbird’s Five-Step Formula

To explain Thunderbird: The Modern Ace Production in the most detailed way possible,
it has been broken down into five simple steps. By following these instructions, you
will grasp the basic technique with a modicum of practice.

Grab your four aces; and let us begin.

Step One: The First Ace

Place the face-down ace packet in the right hand,
in Tenkai Palm position. Hold both hands down
by your sides. When ready to perform, bring both
arms up in front of you, several inches away from
your torso. Make sure your right hand is a little
above and in front of the left. This is so you can
place the inner left corner of the packet between
the left second and third fingers, at their base
(photo 4).

You need to keep the packet as square as possible
for the first production. The best way to keep the

aces together is by applying a small amount of pressure at both ends, squeezing your
hands together at the contact points.

Move the right hand back toward you, until the inner left corner of the hidden packet
firmly contacts the base of the left second and third fingers. Without pausing, continue
moving the right hand toward you, causing the inner end of the packet to lower. Release
your right thumb from the packet and rotate the right hand toward the body so it forces
the squared packet of aces to a vertical position between both hands, its face visible to
the audience. It looks as if a single card instantly appears between your palms (photos
5a, 5b, 5c).

Once the packet is vertical and in view, immediately extend the fingers of both hands
toward the audience. This adds to the mystery of the production, and proves your hands
are otherwise empty.

4

5a

5b

5c

4

Thunderbird by Lee Asher

Step Two: The Transition Between

You have a packet of four aces (held as one) between your palms. You will now remove
the ace on the face of the packet while secretly moving the remaining three cards back
into Tenkai Palm.

Stretch your left first finger and thumb to pinch the left side of the packet. Simultaneously,
the right hand rotates back to its original position - in front of the body, with its back
toward the audience. If done properly. The upper end of the packet moves forward.
Once again, the back of the right hand conceals the packet as you remove the face card
as follows:

While sliding the bottom ace out using the pad of the left forefinger, the uppermost
three aces are pushed to the right with the tip of your left thumb (photo 6).

The right thumb extends across the outer short edge of the cards and contacts their
outer left corners, securing the packet once again in the Tenkai-palm position. There is
no hesitation as these actions occur—the face card of the packet is removed with your
left hand while at the same time, the remaining cards are palmed.

With your left hand, turn the visible ace lengthwise. You will now be pinching the middle
of it’s upper long edge with the fingertips of both hands. Place your right and left first
fingers in front, and thumbs behind the card (photo 7).

Step Three: Splitting the Second Ace

Position check: you should have your first finger dangling down in front of the card,
while the thumb sits behind. Make sure your other fingers relax behind the card with
your thumb. Move your middle finger underneath the palmed packet (photo 8a) . From
the spectator’s view, it should look as if you are about to tear the ace (photo 8b).

6

7

8a

8b

Thunderbird by Lee Asher

5

9

10

11

With the pad of your middle finger, start to move
the bottom ace of the packet to the left. Move your
left thumb onto the back of this card, and pinch its

long left side between your left thumb and second

finger (photo 9).

Act as if you are going to tear the
visible ace in half. Keeping your right
hand perfectly still, move your left
hand forward with the pinched ace,
through the stationary right-hand ace (photo 10).
Notice how the ace in your left hand rotates so
that its long edge is uppermost as you bring it into
view.

It is crucial that you do not bend your right wrist
forward or backward during this tearing action,
otherwise you will flash the two remaining aces in
Tenkai palm. It will feel natural to turn the wrist,
but fight the temptation.

It looks as if you have torn one ace into two. Rotate
both aces at the fingertips so their short edges are
uppermost (photo 11).

Don’t forget !

You can see a video of

this explanation at

LeeAsher.com

6

Thunderbird by Lee Asher

12

13

15

14

16

17

18

19

Thunderbird by Lee Asher

7

Step Four: Third One’s a Charm

Place the right-hand ace into the left hand, so that both cards are held together making
the shape of the letter ‘V’ (photo 12).

Your left hand stays motionless for this next sequence.

The third ace materializes right out of thin air - at your fingertips. Or at least… that’s
what the spectators think.

Extend your right hand forward, and act as if you are plucking the third ace from the
air in front of you. Bend middle finger back toward your palm, as far back as you can
reach, and place it on the face of the packet (photo 13). Using the pad of the middle
finger, move it up and to the left, causing the bottom card of the packet to slide out
(photo 14).

Once the card has moved out a third of its width, place your forefinger onto its outer
left corner and pull upward, causing the card to swivel on the nail of your thumb until
its face is toward the audience. The back of this ace slides against the nail of the right
thumb as it swings into view and the card will come to rest at your right fingertips
(photos 14, 15, and 16).

Be sure your right hand stays parallel to the floor the whole time you are plucking the
ace from the air. If you even bend your wrist in slightly, you risk flashing the card in the
Tenkai palm. Make sure to keep your right wrist completely still, and let the fingers do
all of the work.

Now that you have produced the third ace, rotate it so it’s short end is uppermost, and
it insert it between the other two in the left hand (photo 17). Leave it sticking up a bit, so
it juts out and grasp all three cards with your right fingertips (photo 18). Take care not
to flash the remaining card in the Tenkai palm during this step. Without disturbing their
positions, place the three aces into your right hand holding them at your fingertips. The
outer short edge of the palmed card will touch the back of these aces at a 90° degree
angle.

Step Five: The Final Ace

Take a moment to pause between producing the third ace and the last ace. Let your
audience focus on the three card packet in the right hand.

With your right thumb, press down on the back of the palmed card, so it pivots into the
spectator’s view. Make sure to keep your hand completely still, so it looks as if the card
simply appears. Your thumb comes to rest flat against the back of the other aces (photo
19). Four aces now sit attractively displayed at your fingertips (photo 20).

Some people have a tendency to stick their fourth finger out while producing the last
ace.

I refer to this as a ‘bad pinky’ on the

Five Card Stud DVD ,

because it looks dreadful, and

completely detracts from the appearance. Refrain from letting the fourth finger come
away from the rest of your hand; make a mental note if you have to. The less hand
movement seen by the audience, the more magical the effect looks for them.

In closing, I want to leave you with a few words of advice about performing Thunderbird
in public.

8

Thunderbird by Lee Asher

Thunderbird takes roughly half a minute to perform from beginning to end. Take care
to treat each production as an individual effect. Your spectators witness pure card
magic.

However, never display Thunderbird if you don’t have the proper angles. There are
plenty of other angle-proof Ace productions available.

With that said, when you do have the proper angles, you’ll find Thunderbird is your
‘deadliest weapon.’

20

Thunderbird by Lee Asher

9

Further Thoughts on Tenkai Palm

In this section, several tips and techniques are discussed with the intention of drastically
improving your Tenkai Palm. Even if you are already an expert in Tenkai’s methods, this
section should still be worthy of your time. These small insights come from years of
using the technique in all types of working environments.

Tip One: Parallel to the Floor

As long as the Tenkai-palmed packet remains parallel with the floor, it stays hidden. Try
moving your wrist and forearm as one, without bending either. This helps minimize the
risk of flashing.

Don’t forget to be conscious of your packet and its position at all times. Remember to
keep the front edge of the Tenkai-palmed cards on the same plane as the spectator’s
line of vision. Your packet remains completely out of sight.

Tip Two: Shut All Windows

Someone famous once said, “The eyes are the windows to the soul.”

Someone not-so-famous, (yours truly), said, “The fingers are the windows to the not-
so-hidden packet.”

The majority of Tenkai Palm flashing comes from the gaps between your fingers, not
from above or beneath. Regardless of our hand sizes, most of us have to train our
fingers to stay together when Tenkai palming.

If you have problems flashing through your fingers, below is an easy exercise to help
you close all the unnecessary gaps that expose your packet.

Spread your fingers out as wide as you can, and then squeeze them together as tightly as possible

without closing your hand to making a fist. Walk over to a sink or faucet and run some water on your

palm and fingers. Make sure the water cannot trickle through any gaps between your fingers.

If you manage to hold the majority of the water and not let it drip too much through your fingers,

chances are you will not flash the packet during performance.

If water can’t seep through the webbing, neither will their gaze. Learn to keep your ‘windows closed.’

Transcend the water, dry off your hands, put the cards back into Tenkai Palm, and make sure your

fingers are as close together as possible.

Now perform Thunderbird.

10

Thunderbird by Lee Asher

Tip Three: Frame the Face

Are a majority of the routines you perform executed at waist level?

If so, tip three may be the best suggestion yet.

I’ve always found the greatest way to get re-hired for a second time is to make sure
everyone knows who I am, when the performance is over. One of the best ways to
accomplish this is to perform as much magic near your face as possible.

This may sound obvious, but think about how you demonstrate your magic for an
audience.

Seriously take note of Thunderbird’s construction. Every production happens in front
of the body, high up, near your face. You never have to move your torso at all when
performing this ace production - no wiggling, twisting at the waist, or even taking any
steps. Thunderbird: The Modern Ace Production is direct, sophisticated, and designed
for maximum face exposure. The spectators watch magic, and see your face in the
same frame.

Cheap imitations of Thunderbird may neglect the importance of tip number three, and
make everyone look like bOZos.

Hey! Did you forget?

You can see a video of

this explanation at

LeeAsher.com

Thunderbird by Lee Asher

11

Down by side

Hips

Behind back, arms folded

Edge of table

21a

21b

22a

22b

23

24

Make your Tenkai Palm comfortable

At some point, while performing with the Tenkai Palm, you might find yourself in a
situation where waiting before producing the first ace is prudent. It’s awkward to remain
motionless with the cards in palm position, so pictured below are several comfortable
‘hold’ positions for your use.

12

Thunderbird by Lee Asher

A Small T-bird variation

Before performing Thunderbird, turn the second ace
from the top of the packet face up in your four-card
packet (photo 25). Place the packet of cards into a
Tenkai Palm in your right hand.

Produce the first, second, and third ace exactly as
described above in the original routine. The only
difference being the third ace will appear face down,
from the audience’s perspective.

Now that you have the third ace produced, insert
it between the other two in the left hand. Leave it
sticking up a bit, so it juts out (photo 26a and 26b).
Take care not to flash the remaining card in the
Tenkai palm during this action.

Transfer all three aces from the left hand, over to
the right hand, so the Tenkai-palmed card touches
the back of the other aces (photo 27).

Use your left fingers to clip the face-down ace,
remove it and then flip it over (photo 28). At the
exact moment the third ace becomes face up, use
your right thumb to apply pressure downward on
the palmed card, so it pivots into view.

Make sure to keep your whole forearm, wrist, and
hand completely still, so it looks as if the ace simply
appears. Your thumb will come to rest flat against
the back of the other aces.

for a change of pace

Originally published in the Pulp Friction booklet (2000, pp. 2-3)

25

26a

26b

27

28

Thunderbird by Lee Asher

13

It seems as if the last two aces appear at once
(See photo 29).

Credits

Here are some other interesting credits that you should take the time to unearth and
read. Familiarize yourself with:

• Cliff Green, Professional Card Magic, p. 39 (1961), ‘The Phoenix Aces’

• Ross Bertram, Bertram on Sleight of Hand, pp. 140-187 (1983)

• Jean Hugard, More Card Manipulations No. 2, p. 47 (1939), ‘The Cottone Squeeze
Production’

• Richard Kaufman, Card Magic, (1979) ‘A Phoenix of a different color’ pg. 147 and
‘Phoenix Reborn’ p. 142

• Daryl’s Lecture, Notes #1, p. 20 (Convention Session #1, 1978-79), ‘The Ink Was Left
Behind’

• Ed Marlo, Marlo’s Magazine Volume 5, p. 295 (1984), ‘An Effect From The 40’s’

29

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Thunderbird by Lee Asher

Acknowledgments

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

William Goodwin

Darric Martinez

Kip Pascal

Paul Vigil

Tyler Wilson

Christina Galonska

Aaron Fisher

Magic Mike Segal

Max Maven

Daryl

Andi Gladwin

Steve Fearson

Rose Rings

The Folks

And As Always…the Esteemed Members of the Magic Mafia

Thunderbird by Lee Asher

15

What To Do Now?

Now that you understand the basic concept of Thunderbird, I urge you to go and
practice. The faster you start working on this technique, the sooner you will master it.

If you have any questions about Thunderbird: The Modern Ace Production, please email
them to

[e-mail]

Drop me a note anytime. I would also love to hear about your experiences performing
Thunderbird.

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 won the International Brotherhood of Magicians Junior Close-up
Championship, making him the youngest competitor ever to win two years in a row.

After graduating High School, Lee moved to Las Vegas, Nevada for University. 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 Magical Empire at
Caesar’s Palace. Once Lee finished college, he followed his heart to Paris, France. While
there, he studied and shared his magic with some of Europe’s finest magical minds.

Now back in America, Lee Asher resides in Eugene, Oregon, where he continues to
practice the art of magic.

Lately, he has been finishing up his Pulp Friction DVD.

16

Thunderbird by Lee Asher

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Thunderbird by Lee Asher

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