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00:00 It's huge, Marlowe.
00:02 Yes, you have to read it again and again.
00:06 And with all the things he wrote, you're not done.
00:09 It's like doing gymnastics with a strap.
00:11 For the heart, it's good.
00:13 And I still have a little book of Marlowe on me.
00:15 Anyway, if you want, we can talk a little bit.
00:17 Still on me.
00:19 I don't know if you know this one.
00:21 This one, no, I don't know it.
00:24 But I don't read English, as you know.
00:27 I especially bought it for the cover.
00:30 I found it pretty.
00:32 Do you want us to do a little thing on Marlowe?
00:34 Yes, yes, we'll see.
00:36 How is this one?
00:38 There, he deals more with subtleties, controls, tilt.
00:42 It's not bad.
00:44 Yes, he does a change, all that.
00:47 Yes, it's good.
00:49 But here, on the other hand, the drawings are not bad.
00:52 Do you use the KM a little?
00:54 Because I rarely use the KM.
00:56 I don't use the KM very often.
00:59 But he did a routine that is interesting with.
01:03 Interesting.
01:05 For example, you have kings, red and black.
01:09 In fact, it's an observation test.
01:11 Are you an observer in general?
01:12 Absolutely not, but if you give me the champion, that's black.
01:15 It's a good training.
01:17 And here we have the reds.
01:20 So here we are.
01:22 For example, the blacks, so they stay here in Marlowe.
01:26 And it's because they're actually the blacks.
01:29 And if we have the blacks here,
01:32 it means that here we have the...
01:34 The reds.
01:35 Exactly, but they're aces.
01:37 And there too.
01:39 OK.
01:41 And there you used at least two KM.
01:44 Two KM moves.
01:45 Yes.
01:46 For a transposition, in fact.
01:47 How can we think of transposition, travel?
01:49 Yes, transposition and travel.
01:51 And transformation.
01:52 Transformation.
01:54 I think you have something that looks a bit like that, right?
01:57 Yes, except that it's not an observation test.
02:02 A memory test.
02:03 Yes, rather.
02:05 I will present the kings.
02:06 Because I'm more polite than you.
02:08 I show them to you at once.
02:09 You have the two blacks and then you have the two reds.
02:12 So you have the four kings, in fact.
02:15 OK.
02:17 The four kings.
02:20 It's easier.
02:21 I'll show you the first king.
02:23 I put it there.
02:25 Then the second.
02:27 Yes.
02:28 I put it on horseback on the first one.
02:30 That's very important.
02:31 What do I have left in my hand?
02:33 So you have the blacks.
02:34 Yes.
02:35 So the blacks, very gently, we're going to put them under the game.
02:39 No ambiguity to lose them.
02:41 At least to put them very, very far from the game.
02:43 And by snapping your fingers, look, very gently.
02:46 It's not observation, it's magic.
02:49 So we have the blacks here.
02:51 And the reds?
02:53 On the table.
02:54 You should follow, because the reds are aces.
02:57 If you don't follow, it's no use.
03:00 Yes, that's true.
03:01 It's a version that avoids the game move.
03:06 It's true that it's more aerial, but you know I prefer things a little more aerial.
03:12 Yes, you're an aviator.
03:15 I'm bothering you, asshole.
03:18 You're a bird.
03:21 No, but, okay.
03:24 Yes.
03:25 I know what you're going to tell me.
03:28 There's an aim-slay that we could avoid, it's true.
03:31 Yes, I don't know if I was going to say it, but...
03:34 You either aim-slay or you intercalate directly.
03:39 That's it?
03:40 Yes, you have two possibilities in the turn,
03:44 and you can do it when... we'll see later in the explanation, but it's just for...
03:50 Here, you have to reverse.
03:53 Okay.
03:54 So either aim-slay or insert the cards in the turn to place the two kings in position...
04:00 Intercalate.
04:01 Intercalate, and then we're ready for the doubles.
04:04 Yes.
04:05 You can also do a multiple push-off.
04:10 For example, if you have the reds between the blacks,
04:15 you turn, you turn the kings,
04:18 we'll take a break under three,
04:21 you count one, two, three, four,
04:24 you turn, you can show.
04:29 We turn.
04:32 And now you're ready to do a double in the middle.
04:36 Double in the middle and double below.
04:39 Double in the middle, which shows a black card, and indeed, below.
04:45 And we're in the same situation, since we're in agreement.
04:49 Yes, it's not bad. It does prevent aim-slay or...
04:53 What happens is that we have the impression of seeing them until the last moment.
04:57 We see the kings, you take them back right away.
05:00 Exactly.
05:03 A nice turn by Marleau with one, two, three, four, and the kings.
05:14 I think it works like this.
05:17 We have one, two, three, four spades.
05:20 We have the four kings.
05:23 Yes.
05:24 OK?
05:25 Yes.
05:26 That's all.
05:27 It's starting well.
05:28 Yes, so the kings here and there.
05:31 One, ace, two, three, four, which are in order.
05:35 So you see the ace, for example, I'm going to put it in this pocket.
05:39 If you want.
05:41 In fact, I'm going to distribute the cards.
05:44 We have different pockets.
05:45 For example, the two that is there, I might put it in the pocket of the jacket here.
05:50 It's your free choice.
05:53 The three that is there, I'm going to put it in the pocket of the pants.
06:00 OK.
06:01 I imagine someone can sign it.
06:04 Yes.
06:05 And the four in the fourth pocket.
06:08 OK.
06:09 Here.
06:10 So normally you have the kings.
06:14 So here I have one, two, three, and four kings.
06:19 And I'm going to do a magic trick.
06:22 Like this.
06:23 In the pockets.
06:24 Hop.
06:25 Do you see anything?
06:27 No.
06:28 I just saw that.
06:30 Well, they're no longer kings.
06:32 Because now we have a king here.
06:35 We have a second here.
06:38 The third must be there.
06:41 And the fourth here.
06:45 Yes, it's a kind of family, a little pocket rizat.
06:51 Transposition, travel.
06:54 That's it.
06:55 Transposition.
06:56 I don't know, I'll see it very well because it seems to be in its simple structure.
07:02 I'll see it well on the table.
07:04 Rather than hiding behind the jacket.
07:08 You don't really have to go behind the jacket.
07:11 Yes, he notes.
07:12 We try.
07:14 I don't know where I'm going.
07:16 I don't know where I'm going at all.
07:20 We could use the carpet.
07:21 So we're back.
07:23 We're like that.
07:26 So 4-3 is the series.
07:29 Yes.
07:30 So we're with 1-2-3-4, that doesn't change.
07:35 So we're going to start with the ace.
07:41 We're going to start with the 2.
07:44 The ace maybe here.
07:46 Let's go.
07:47 The 2.
07:50 I'll go there.
07:53 The 3.
07:55 There.
07:56 And the 4.
07:58 There.
07:59 So we end up with the...
08:02 The kings.
08:05 OK.
08:06 So here we are in the situation...
08:09 Yes, it's this card that you have to...
08:12 Yes, that's it.
08:14 So we could make an elevator.
08:18 No, you were making a muck.
08:21 To make your muck, you have to be like that.
08:23 OK.
08:24 Here.
08:25 OK, so I'm changing.
08:27 So we're like that.
08:29 I'm changing here.
08:32 We're more like that.
08:34 I'm here to justify the movement.
08:37 We're sideways.
08:40 Wait.
08:42 Yes, that's it.
08:43 You have to...
08:44 OK.
08:45 So we're changing... Yes.
08:48 Yes.
08:50 So it's this and this, this, this and this,
08:53 and we end up with...
08:55 You changed twice.
08:56 Yes, I changed twice.
08:57 So we're going to do it...
08:59 We're here and we're there.
09:01 OK.
09:03 So the last one poses the problem of changing like that,
09:06 to go back here, here, here and here.
09:10 You can also do the Mexican bonte,
09:14 which means that, like the card,
09:16 you have the king here and the ace here.
09:20 If you do it like that, for example,
09:23 here, you can say that here we have the kings.
09:28 One, two, three, four.
09:31 And if we look here,
09:33 the four kings.
09:35 You see?
09:36 Yes.
09:38 And...
09:41 But I did tell you about the elevator,
09:44 because it's interesting.
09:47 It adds a card effect.
09:50 No, what happens is that when you're like this...
09:53 So it's this.
09:56 And here you're like this.
10:00 Sorry.
10:03 There.
10:04 So one, two, three, four.
10:08 Here we have the ace.
10:13 Here we have the two.
10:17 We can put it here.
10:20 Yes, it's not bad if there's the three.
10:23 No, not good.
10:24 Yes, three.
10:25 And here we have the four.
10:28 In fact, if we have the four here,
10:31 it means that we're like this.
10:34 You can do this very well,
10:37 and show that it's a king.
10:39 No, sorry.
10:41 Here you have the kings.
10:44 If you do this, magic trick,
10:46 the four goes up.
10:49 You put the four back.
10:50 And in fact, you do...
10:52 You transform it all at once.
10:54 Yes.
10:56 I'm wondering if it's good to turn this or that.
11:00 I think we should turn this first.
11:03 Visually, we saw the four last time,
11:05 so it's better to turn it here.
11:07 And here.
11:08 Yes.
11:10 It's not bad to change the pockets.
11:12 It can be...
11:14 The advantage is that...
11:15 It's easier to follow, I think.
11:17 It's strong in the pockets, anyway.
11:19 It's very strong.
11:20 Yes.
11:21 But we don't know if we're changing something in the pocket,
11:23 or if it's a visual frustration, let's say.
11:26 No, the only problem with transpositions
11:28 is remembering where the kings were,
11:30 and where were one, two, three, four.
11:31 And that's why I like to say,
11:33 "Remember, here we have the ace,
11:35 the two, three, four."
11:36 And to make it repeat.
11:38 The fact that it repeats,
11:39 it brings the situation back to life.
11:42 Where is the ace? Here.
11:43 So it reinforces that we have one, two, three, four.
11:45 And when they come back in the hand,
11:47 and you have the kings in the pocket, it's very strong.
11:49 But we can do it like that too.
11:52 There are lots of different debates about the signatures or not.
11:55 It's true that...
11:57 Signatures?
11:58 Yes, because if you go to the pocket,
11:59 you need a proof by nine that it's the right cards.
12:01 Nothing prevents us from putting it in advance, if you will.
12:05 Or make them choose squares, why not.
12:08 Yes, that is to say that on the advantage of the table,
12:10 you don't need to sign.
12:12 It's open to everyone.
12:14 It's open.
12:15 We can't do anything else.
12:18 I'm more interested in the table than the pockets,
12:20 in relation to that.
12:22 In the pocket tours,
12:25 I have one that I found in improvisation.
12:30 When I worked in my pawnshop, you know, outside.
12:33 I did a lot of card tours.
12:36 I try not to do the same thing twice.
12:40 So you have to remember what I did.
12:43 But you can't stop.
12:45 You can't say, "Wait a minute."
12:47 So I had to improvise with the aces I had in my hand,
12:50 and I did that.
12:52 And it worked out very well.
12:54 How many aces do I have in the examination?
12:57 Four.
12:58 Are you sure?
12:59 I'm asking because I have doubts.
13:02 I don't know what's true and what's false.
13:04 Because I have an ace in my pocket, it's a spade.
13:06 So it's five.
13:07 If I put it with the others, yes.
13:09 But it's still one, two, three, four.
13:12 Weird.
13:13 Weird.
13:14 I still have one in my pocket, it's a diamond.
13:17 So it's six.
13:18 But I still have one, two, three, four.
13:21 Yes, but you don't take it for a tourist.
13:24 No, no, look.
13:26 So it's five.
13:28 No, I don't take it.
13:29 So it's six.
13:31 No, no, I have one, two, three, four.
13:34 What's the ace in the pocket?
13:36 A spade.
13:37 Are you sure?
13:38 Yes.
13:39 No, it's a club.
13:40 So it's a spade.
13:41 It's magic.
13:42 Even if I put it, I still have one, two, three, four.
13:44 This thing can last for hours.
13:46 You should have seven.
13:48 I still have one.
13:50 No, no, two, three, four.
13:53 And look.
13:56 I really have four.
13:59 You see?
14:00 People don't jump on you to take your jacket off.
14:04 No, because in this case, I show that I have one last one.
14:07 It's nine.
14:08 No, you still have one, two, three, four.
14:10 Yes, look, I still have one.
14:13 It's ten.
14:15 Look.
14:16 Eleven.
14:17 It's not a joke, is it?
14:18 No, I see.
14:19 No, really, four.
14:21 Yes.
14:22 Really.
14:24 Well, I'm going to leave you because I have the impression that you're in a bad mood.
14:30 No, but I have trouble following.
14:33 It's great because there is a numerical impossibility in your turn.
14:39 What are you talking about?
14:40 Four, five, six, seven, eight.
14:42 No, no.
14:43 It's really interesting because it's illogical.
14:46 And in fact, it's true.
14:48 No, in fact, there is an advantage, it's impromptu.
14:52 You only need four cards.
14:54 So if you have a bad game, you can do it.
14:58 Marlowe had released, I think, three, four, five, six, seven, eight, nine.
15:04 The Steader.
15:06 Yes.
15:07 So it's not quite the same style, but it's good.
15:11 It's delivered as it is.
15:13 So, of course, the presentation of the Aces.
15:17 This one, of course, is the Chief.
15:22 The others are the Sub-Chiefs.
15:25 And we're going to put on the Chief, I think it's three cards.
15:31 I don't know why we put three cards.
15:35 On the Chief, I understand.
15:37 But on the other Aces...
15:39 So three cards.
15:41 Yes.
15:42 Three cards.
15:46 We're going to say X, and the last three?
15:49 Y.
15:50 OK.
15:51 So we remember that on the Ace Leader, three cards, X.
15:58 We're going to consider that the last one is the Ace,
16:02 but we just do "consider" because it disappears.
16:08 And if we follow the logic, it's the same.
16:14 We start again with the last one, it disappears, disappears, disappears, disappears.
16:21 And the logic brings us to this next conclusion.
16:25 The Ace, little by little, arrives.
16:28 We're going to finish with the disappearance of the last Ace,
16:38 and the appearance of the four Aces.
16:43 One, two, three, and four.
16:48 A very classic Marlowe's Acid.
16:51 Yes, very basic.
16:53 It's a very strong effect for the audience, because it's simple.
16:58 We didn't do anything crazy about the disappearance of the Aces.
17:01 Of course, if we want to increase the show,
17:03 we can put the Aces upside down, so to speak, on the cards.
17:07 Here, free course to any kind of imagination,
17:11 make a kind of dance to show that it's gone,
17:15 make a "poof" appearance of the card, but in fact it's not there anymore.
17:19 Everyone can do what they want.
17:22 As soon as we're sure it's the Ace,
17:25 make a disappearance to show that the card really disappears.
17:31 It's a matter of improvisation, in relation to the magician, of technical stock.
17:37 But we're in a sequence, we might be able to talk about it from time to time,
17:41 which is a sequence of journeys.
17:43 It's very strong. The family of journeys is very, very strong.
17:47 An object A that passes an object B, it's very strong.
17:50 There's no cause and effect, it's not really in the hands,
17:53 since the card that disappeared is here, and it appears there.
17:56 It's still a transposition, because it's the random card that's there,
18:00 that transposes with the Ace that's here.
18:02 It's an exchange.
18:04 We see it less, because people remember that the Aces went there.
18:08 But it's a very nice effect.
18:10 I don't do it because it's true, I don't really like the Ace leader, actually.
18:16 Because it's repetitive, we do the same thing three times.
18:19 We know very well that the fourth one will arrive there.
18:22 And on top of that, there are lots of useless cards.
18:24 Three cards on each, if there's nothing.
18:26 I'll show you a version.
18:30 Tell me what you think.
18:32 Just like that.
18:34 I'll put the Aces. It's quick, and you have a leader here.
18:42 But I didn't see the others, sir.
18:45 On this famous leader, I'll put the famous three cards.
18:50 And now I'll show you that here, there's an Ace.
18:53 Here, a second Ace.
18:55 I have the impression that you suspect me a little bit.
18:57 Yes, yes, yes.
18:59 I understand you, I understand you.
19:03 So, you remember that here, there were three cards that were against.
19:06 Now we're left with an Ace, two Aces, three Aces, and...
19:10 Four Aces.
19:14 Which allows us to show...
19:16 One, two, three, and four Aces.
19:19 So, I've removed the three cards on each.
19:23 Yes, that's good.
19:25 Very direct.
19:27 In a repetition thing, that's not bad.
19:29 That's strong.
19:31 It's direct.
19:33 I've been thinking about it a bit, but...
19:36 It's just...
19:39 For the pleasure of thinking...
19:42 You have to have fun too.
19:45 That's how you create pleasure.
19:47 I thought, "Hey, it would be good to start like this."
19:50 Yes.
19:51 Obviously, there are a lot of ways to do it.
19:54 So, we'll try to find the leader.
19:57 Maybe the leader is the Ace of Diamonds.
19:59 Maybe it's the Ace of Spades.
20:01 Or maybe it's the Ace of Hearts.
20:03 Unless it's the Club.
20:05 We'll try to find the leader.
20:07 I don't know which one it is.
20:10 Maybe it's this one, the leader.
20:13 The Ace of Clubs, maybe.
20:15 Or...
20:17 No, it's the Spade.
20:19 Do you know why?
20:21 Yes, it's a beautiful drawing,
20:23 lots of ink, a handsome man.
20:25 Lots of ink.
20:27 No, this one doesn't have a handsome man.
20:29 It's on the Bicycle.
20:31 But this one...
20:33 It's a painting of art.
20:35 It's amazing.
20:37 To watch it, it has bodyguards.
20:39 Ah! Bodyguards?
20:41 Yes.
20:43 Did you find bodyguards in the game?
20:45 Yes, the kings.
20:47 In fact, the kings have weapons.
20:49 Some have axes, swords, etc.
20:51 Ah, swords, yes.
20:53 It's the first time I've heard that.
20:55 Really?
20:57 Bodyguards, the kings.
20:59 Bodyguards, yes.
21:01 We have to remember that.
21:03 So, obviously...
21:05 For example, this one has an axe,
21:07 this one has a sword.
21:09 Anyway...
21:11 And despite that,
21:15 the attraction for the boss
21:17 is so strong that...
21:19 If we look at it,
21:21 we can see that
21:23 we have kings here,
21:25 and here, the axes.
21:27 Yes, great.
21:29 So, we start...
21:31 I create a suspicion that doesn't exist
21:33 because we think it's not axes,
21:35 but it's axes.
21:37 You don't have a suspicion, they're here.
21:39 There's just one thing that bothers me,
21:41 if you allow me.
21:43 It's just the exchange you do on the table.
21:45 Yes, I know.
21:47 It's a bit of a weak point.
21:49 Because it's not easy to pass.
21:51 I try to camouflage,
21:53 I don't know if you noticed,
21:55 by putting the axes not aligned,
21:57 to justify the exchange.
21:59 Because it should be like that.
22:01 And in fact, you change,
22:03 you move a bit.
22:05 It's just this movement
22:07 that seems a bit...
22:09 let's say, "abrupt".
22:11 There's a back and forth.
22:13 So, obviously, I thought
22:15 about doing doubles too,
22:17 but I don't like it, or do the same movement
22:19 several times. I wanted to avoid it.
22:21 Because by doing it twice,
22:23 you eliminate the problem.
22:25 But in terms of construction...
22:27 It's worth doing.
22:29 I'll show you.
22:31 Because here,
22:33 in a double, you can do...
22:35 Let's say it's a double.
22:37 You put it down.
22:39 You can do this.
22:41 That's possible.
22:45 Or you can load
22:47 a card.
22:49 That means
22:51 that's the problem.
22:53 Instead of loading it,
22:55 you can do this.
22:57 So, you have your double.
22:59 It allows you to put it there.
23:01 So, if I recapitulate,
23:03 you have this.
23:05 You put this.
23:07 You don't change this.
23:09 You put this.
23:11 You say, "The boss, maybe it's him."
23:13 No, it's going to be him.
23:15 And at that moment,
23:17 you have both aces.
23:19 So, it means
23:21 that I have to put the spade ace
23:23 and change places.
23:25 OK.
23:27 Let me think.
23:29 We'll do it like this.
23:35 Because there are kings too.
23:39 So, if I put...
23:41 It doesn't change anything.
23:43 I put the same placement.
23:45 You'll have a magic card.
23:49 So, the aces,
23:53 you have to look for the boss.
23:55 It's not easy to find the boss.
23:57 Maybe it's the spade ace,
23:59 maybe the heart ace,
24:01 maybe the spade ace or the diamond ace.
24:03 The diamond ace is rare,
24:05 but...
24:07 No, the heart too.
24:09 No, not the heart.
24:11 In general, it's the spade,
24:13 the boss.
24:15 And now you're ready.
24:17 It's the spade.
24:19 It's very magical.
24:21 But it's not finished yet.
24:23 Because if I have a double,
24:25 I'll put 3 quarts.
24:27 I can do this.
24:29 You see?
24:31 No, like this.
24:33 It means that here,
24:35 it's this and I do this.
24:37 So, I have to show...
24:39 No, no, it's two.
24:41 I have to take them out.
24:43 Wait.
24:45 It's OK.
24:47 You have to take out the kings now.
24:49 I have to say...
24:51 There is one here.
24:53 I have my aces here.
24:55 They are badly placed.
24:57 I could have put them in the game.
24:59 It's OK.
25:01 You take out the kings.
25:03 I show, for example,
25:05 3 Jacks.
25:07 And it's the same.
25:09 Straight out.
25:11 So,
25:13 you know why the kings?
25:15 Because they have...
25:17 There is a knife.
25:19 And here...
25:21 Bam!
25:23 Perfect.
25:25 It starts with 3,
25:27 it ends with 2, but we still see the 3.
25:29 3 Kings on the King's Head.
25:31 And you see,
25:33 despite that,
25:35 here we have
25:37 a King, two Kings,
25:39 three Kings, and here we have the aces.
25:41 Reconstructed like that
25:43 to avoid the slide on the table,
25:45 I find it more aesthetic.
25:47 I prefer it.
25:49 It's a nice routine.
25:51 Again, there is a transposition.
25:53 Yes, and here we see it.
25:55 There is a surprise.
25:57 Because there is a transposition
25:59 in the classic.
26:01 Here we don't see it.
26:03 Here we see it.
26:05 Because it's the aces and the kings.
26:07 We'll see after the explanation
26:09 that you have a movement
26:11 a little different than the turn over change.
26:13 Yes, we think it's the turn over,
26:15 but actually, I do one.
26:17 And I do...
26:19 You'll see in the explanation.
26:21 We didn't talk about control,
26:25 but Tzuk Marlow
26:27 was one of the first
26:29 who used the control
26:31 not because of the effect,
26:33 but with the card in the game,
26:35 the game in the hands.
26:37 He created a distance between the hand and the game.
26:39 So the card to lose
26:41 and the game.
26:43 I don't know if you know this kind of thing.
26:45 I read about it in one of Marlow's books
26:47 which is interesting.
26:49 Let's imagine the guy has chosen a card,
26:51 the ace of clubs, why not.
26:53 He raises it with a double.
26:59 The game is placed here.
27:01 And now we're going to lose the ace of hearts
27:05 inside the game.
27:09 The distance is perfect.
27:11 The game can be cut by the spectator.
27:13 Or it can be done in a ribbon, whatever.
27:15 And he has a time advantage
27:17 because the ace of hearts
27:19 is still on the knees.
27:21 To find the ace of clubs,
27:23 you would have to put the game upside down.
27:25 So you can spread out the ace of clubs.
27:27 The chosen card.
27:29 The idea of distance is interesting.
27:31 Yes, it's a change by the pin
27:33 which can also be used as a control.
27:37 It allows you to make the turn
27:39 of cards through the table.
27:41 You could say it's a change in action
27:45 with a pin.
27:47 I didn't use it like that.
27:49 I used it in the Champagne number,
27:55 in the fantasy card cassette.
27:57 Do you use the same technique?
27:59 Not at all.
28:01 It's something I read later.
28:03 At the beginning it was just a fight of the mind.
28:05 You found your own
28:07 before reading yours.
28:09 That's how I found it.
28:11 I wanted a visual change.
28:13 I wanted a visual change.
28:15 It's not a control.
28:17 I don't work on controls at all.
28:19 But a visual change.
28:21 I needed something
28:23 that looked like this.
28:25 A card that starts
28:27 with the ace of spades
28:29 and that arrives
28:31 instantly in...
28:33 in another card.
28:35 That was the basis.
28:37 Then, it's obvious that it can also be used as a control.
28:39 Here we are in a lamic.
28:41 We show the card.
28:43 There's no double.
28:45 We position the card
28:47 in the middle,
28:49 you throw, you do it yourself,
28:51 you can give the game.
28:53 And I have my card
28:55 with my time in advance.
28:57 It also allows you to change 4 cards for 4.
28:59 So if you want to put the 4 aces,
29:01 why not?
29:03 You take out your 4 aces,
29:05 you control them, whatever.
29:07 And we ask the player
29:11 to touch 4 cards at random.
29:13 You see, anywhere.
29:15 For example.
29:17 And now we're ready to make a change.
29:23 And you have to show them first.
29:25 Yes, yes.
29:27 We show them.
29:29 We can put them here.
29:31 If you want, so there's no suspicion,
29:33 we're not going to push them.
29:35 We're going to show that they've immediately
29:37 transformed.
29:39 Yes, you can make them cross the game.
29:41 That's a very good idea,
29:43 because with several cards,
29:45 it's not misleading.
29:47 Or in visible, it's very beautiful too.
29:49 Look at what it looks like.
29:51 It was the visual side that always interested me at the time.
29:53 I had one more card for that.
29:55 Look, visually,
29:57 you have 4 cards,
29:59 completely different,
30:01 that transform into masks.
30:03 It looks like they're not appearing anywhere.
30:05 And since the eye follows the movement,
30:07 the movement it follows
30:09 is not the retro movement,
30:11 but the forward movement, if you will.
30:13 It only sees the transformation.
30:15 But face down, it's not bad.
30:17 Because there's this principle
30:19 where you show the ace and you make it cross the game.
30:21 And it changes.
30:23 You can do the same with your change.
30:25 You can make it cross the game
30:27 rather than pinning it.
30:29 You can do that too.
30:31 That's a very nice idea.
30:33 In exchanges like that,
30:39 there's one I saw
30:41 with...
30:43 during a session with Barclay.
30:45 We were on the exchange
30:47 and we found this.
30:49 I don't know, I can show it to you like this.
30:51 Here, I put a card.
30:53 Tell me a card, any card.
30:55 - Valet of clubs.
30:57 - That's surprising.
30:59 I don't have a Valet of clubs in my deck.
31:01 - Seriously?
31:05 - Yeah, you can look.
31:07 You can look.
31:09 At first, I did it like that.
31:13 And I realized
31:15 that you can play it differently.
31:17 By using the same technique.
31:19 But it's more interesting to do that.
31:21 I put a card.
31:23 Tell me a card, any card.
31:25 - Valet of clubs.
31:27 - Valet of clubs, are you sure?
31:31 No, I was wrong.
31:35 You see?
31:37 - Yeah.
31:39 - No, it's a joke.
31:41 Because the "unfold" aspect of this change
31:43 can make you say,
31:45 "Whatever, I'll do something else."
31:47 No, it's really the Valet of clubs.
31:49 Playing like that is not bad.
31:51 It's a psychological change.
31:53 - And what I like a lot
31:55 is that you have your left hand
31:57 playing the cover game.
31:59 It's very natural.
32:01 It's just in the angle.
32:03 - Exactly.
32:05 - You change.
32:07 - You go under.
32:09 - By the way,
32:11 there's a story like that.
32:13 You know that when you don't know
32:15 where it comes from,
32:17 you have little chance of being wrong.
32:19 - When you take a card,
32:21 "Ah, it's the Marlowe."
32:23 - The pair.
32:25 So here's 5.
32:27 And there's 6.
32:31 - There's...
32:33 - I'll do it again.
32:35 The idea is...
32:39 So you present the card.
32:41 The 5.
32:45 - The idea is great.
32:47 Does it come from Marlowe or Jennings?
32:49 Because Jennings does that,
32:51 but you don't see the card change.
32:53 - No, Jennings is not the same.
32:55 It's the same idea,
32:57 but it's not the same.
32:59 Jennings is...
33:01 - It starts there.
33:03 And you do the ribbon like that.
33:05 - It's not the same.
33:07 The mechanics is not the same.
33:09 - The card change is worth less.
33:11 - Yes, that's it.
33:13 - It's easier to do.
33:15 - Yes, that's it.
33:17 The point is,
33:19 it's not in the field of vision anymore.
33:21 If it's a black card,
33:23 identical,
33:25 like a 6 of spades,
33:27 an 8 of spades,
33:29 you have the eye...
33:31 Whereas in the other,
33:33 we are in the field of vision of the card.
33:35 - Yes, it's direct.
33:37 - Whereas here, we follow the ribbon.
33:39 Both are good, anyway,
33:41 but it's not what I like.
33:43 It's very subtle.
33:45 It's the subtlety of the pure state.
33:47 There is no technique,
33:49 and at the same time,
33:51 there is a transformation.
33:53 - We can extrapolate,
33:55 we go a little further.
33:57 Why not try with two cards?
33:59 - Yes, that's a good idea.
34:01 - It's not the chosen card,
34:03 but you can transform
34:05 the two cards.
34:07 - Yes, that's good.
34:09 - Or with three or four, why not?
34:11 - Not bad.
34:13 - It's a very good idea.
34:15 This is an essential card of Marleau.
34:19 He worked on
34:21 the "Brave Pass".
34:23 So I will use...
34:27 Unlike you,
34:29 I prefer the jokers
34:31 rather than the kings,
34:33 who are guards,
34:35 since they have big swords with them.
34:37 - Ah, that's good.
34:39 - No, no.
34:41 - It's a draw.
34:43 - Ah yes, you prefer the oil.
34:45 I understand.
34:47 - So, look at the two jokers.
34:49 - Yes.
34:51 - No sophisticated manipulation.
34:53 Two jokers.
34:55 And a normal game.
34:57 Yes? OK.
34:59 To control,
35:01 I will not use the kings,
35:03 but the jokers.
35:05 And here's what will happen.
35:07 I will shuffle the cards
35:09 from the top to the bottom.
35:11 You say "stop" whenever you want.
35:13 And each time, you will find a card
35:15 depending on the "stop" you chose.
35:17 It can be a card like this,
35:19 a card like this,
35:21 a lower card like this,
35:23 and so on.
35:25 It's really random.
35:27 It's important to imagine
35:29 that there is no forcing.
35:31 Are you ready?
35:33 - Yes.
35:35 - OK, you're holding the card.
35:37 It's important.
35:39 I can shuffle everything.
35:41 But thanks to my two jokers,
35:43 I just have to snap my fingers.
35:45 It's a very recurrent gesture in magic,
35:47 automatically between the two jokers
35:49 and a card.
35:51 Without any ambiguity.
35:53 What was the name of your card?
35:55 - 7 of spades.
35:57 - 7 of spades.
35:59 And it's indeed the 7 of spades.
36:01 The bluff pass, the pole.
36:03 At the beginning.
36:05 It's true that he did a sandwich.
36:07 It's a very good idea.
36:09 - Yes.
36:11 It's interesting, it's direct.
36:13 There is no superfluous movement.
36:15 It's not bad.
36:17 And I wonder,
36:19 it's like the card between the jokers.
36:21 We don't see it.
36:23 When we force it.
36:25 It can be another card.
36:27 For example, you.
36:29 - Yes, I see.
36:31 - If you put it like that.
36:33 It can do something interesting.
36:39 Look.
36:41 Obviously,
36:43 we are already like that.
36:45 Here.
36:47 We take a red card.
36:49 And this red card, we put it in the game.
36:51 - A different card.
36:53 - Yes, a different card.
36:55 We haven't seen its face.
36:57 - Yes.
36:59 - A different one.
37:01 I'm going to ask you to say "stop"
37:05 when I'm going to shuffle.
37:07 I'm going to shuffle the cards
37:09 and you say "stop".
37:11 - Yes.
37:13 - Be careful.
37:15 It's important where you're going to say "stop".
37:17 Very important.
37:19 - Stop.
37:21 - It's interesting because you stopped me on this card.
37:23 - Yes.
37:25 - Do you remember the red card?
37:27 - I remember the back of the red card.
37:29 - Yes.
37:31 - Yes, and it's already a red card.
37:33 You see?
37:35 It's up.
37:37 - Between the jokers.
37:39 - Between the jokers.
37:41 I should have done a shuffle.
37:43 Slowly to give the idea that the card is going up.
37:45 - Don't tell me it's the other heart.
37:49 - You stopped me on the other heart?
37:51 - Yes.
37:53 - It's another heart.
37:55 Sorry.
37:57 - I'm going to study the cards
37:59 because it's pretty.
38:01 - Yes, you should, I think.
38:03 - It's pretty.
38:05 A nice pass.
38:07 - We can shuffle this one.
38:09 We can shuffle it.
38:11 For those who like cards
38:13 that are traded,
38:15 it can be double back.
38:17 We can imagine many things.
38:19 - It's the same as the game.
38:21 - It's the same as the game.
38:23 But it's true that
38:25 compared to a few years of school,
38:27 every time I showed this trick,
38:29 despite the students
38:31 who read the Marlowe and so on,
38:33 everyone was surprised.
38:35 I said to myself,
38:37 "It's incredible that such a subtle thing
38:39 is not known."
38:41 - Yes, but there are many good things
38:43 that are not known.
38:45 - He also worked on the Open Traveler.
38:47 Not as much as the Regening,
38:49 but he worked on the Super.
38:51 - The Regening is the creator
38:53 of the Open Traveler.
38:55 - Yes.
38:57 There is one among many others
38:59 that is done with the 4 Aces.
39:01 It's not uninteresting.
39:03 It's a good idea at first.
39:05 We start with a card
39:07 that we put on the table.
39:09 We end up here with 3 cards.
39:11 The first one,
39:13 of course,
39:15 we don't see it
39:17 because it's invisible.
39:19 It appears
39:21 in the first row.
39:23 Two Aces.
39:25 The second one.
39:27 This one
39:41 will go into play.
39:43 The same card
39:45 will be shown.
39:47 Here, of course,
39:49 we show it.
39:51 We put it back.
39:55 We take the card.
39:59 Still invisible.
40:01 And we make it appear.
40:07 It's a good idea
40:09 because we'll see in the explanations.
40:11 He just brought a subtlety
40:13 in the first card.
40:15 - Yes.
40:17 He has an interesting lead.
40:19 I don't do
40:23 Open Traveler.
40:25 Until now.
40:27 There are two problems
40:29 in Open Traveler.
40:31 The first one.
40:33 We put a card on the table.
40:35 There is no reason.
40:37 And the disappearance.
40:39 We take the game.
40:41 There are beautiful justifications
40:43 of the game.
40:45 - We are not comfortable.
40:49 - It's not that.
40:51 It's not normal to take the game.
40:53 We feel it's to solve
40:55 a real problem.
40:57 That's the reason
40:59 I don't do it.
41:01 I found a satisfying solution.
41:03 It's not ideal.
41:05 - It's important
41:07 to satisfy you.
41:09 - Not completely.
41:11 - Maybe I'll show you better.
41:13 - Yes, I'd like that.
41:15 We have an Ace,
41:21 two, three and four.
41:23 It's possible to make
41:27 cards travel invisibly.
41:29 I don't know if you know that.
41:31 A card that travels invisibly
41:33 means that
41:35 for example
41:37 I want to travel
41:39 one of the Aces.
41:41 There.
41:43 - Where is it going?
41:47 - First.
41:49 Second.
41:51 It's a way to take the card
41:57 invisibly.
41:59 It's convenient
42:01 because the card reappears.
42:03 - It's magic.
42:05 - It looks like it.
42:07 There are two left
42:11 to pass.
42:13 We passed the first and the second.
42:15 But we'll try
42:17 to pass a third.
42:19 Like that.
42:21 - Attention.
42:23 - Yes.
42:25 There are three.
42:29 - There are three.
42:31 - Last one.
42:37 - Invisible.
42:45 There you go.
42:53 The last one passed.
42:55 - So it's not the game.
42:57 - No.
42:59 - Where it should be, it's not the game.
43:01 - So it's one, two, three.
43:03 The fourth Ace passed.
43:05 - Not bad.
43:07 Four Aces.
43:09 - What's curious is that
43:11 you just need to add
43:13 one card.
43:15 For example this one.
43:17 To have a flush.
43:19 - Ah yes.
43:21 Counterfeit.
43:23 Very popular in the 80s,
43:25 with the counterfeit.
43:27 - There's just one thing that bothers me.
43:29 It's good because you're not in the same scheme.
43:31 But the spade card bothers me.
43:33 I'd rather have a completely different card.
43:35 - The card...
43:37 - The surprise would be total.
43:39 We've seen the spade card twice.
43:41 - That I add?
43:43 - Yes.
43:45 - You'd like it to be a different card.
43:47 - Yes, a flush, a top change, a double, whatever.
43:49 - Because at this point,
43:51 it could be like that.
43:53 - For example, I say
43:55 I'll add a card, the 4 of spades.
43:57 - There you go.
43:59 - 4 of spades on the...
44:01 I'm simply with the 4 of spades
44:03 already to make a magic pass.
44:05 And there we have the spades.
44:07 Magic pass on the 4 of spades,
44:09 it turns into 10.
44:11 - So it's almost two effects in one.
44:13 We're supposed to have the 4 of spades in one.
44:15 - Yes.
44:17 - So first surprise, no more Aces.
44:19 Second surprise, it's a 4.
44:21 I'll show you my approach
44:23 to this, because
44:25 we agree on the idea
44:27 at the beginning
44:29 to get out of the usual patterns.
44:31 So, the same.
44:35 What bothered me was to put the card.
44:37 It's true.
44:39 So I thought of this.
44:41 4 of spades,
44:43 the 4 of Aces.
44:45 First
44:47 disappearance and first trip.
44:49 We didn't put the card.
44:51 Second
44:55 Second appearance.
45:03 We see.
45:05 - Yes.
45:07 - Third
45:11 This one travels much better than the other.
45:17 Yes, this one travels better.
45:19 You know, there are always Aces that travel better than others.
45:23 - I noticed that too.
45:25 - The three.
45:27 And here's the third.
45:29 You don't believe me, maybe.
45:31 - What?
45:33 - I don't know, I feel you.
45:35 It's really the 3 of Aces.
45:37 So now it's obvious that
45:39 if we do a little magic move like that,
45:41 that I never do,
45:43 we see that the Ace appears.
45:45 - So it allows
45:47 not to put the card
45:49 and not to go to the game.
45:51 - Exactly.
45:53 - Only with 4 cards in hand.
45:55 - Very good.
45:57 - You know why collectors interest me?
45:59 It's because the spread of cards
46:01 that appear between the Aces
46:03 enters a visual magic.
46:05 You see?
46:07 That's what I like.
46:09 There's a contrast that appears.
46:11 I like that about collectors.
46:13 - What do you like about collectors?
46:15 - I can offer you one, if you want.
46:19 It's also based on observation.
46:23 - Yes.
46:25 - I'm not saying anything.
46:27 - OK.
46:29 - Normally,
46:33 you should know what I have here.
46:35 - 7.
46:37 - You win.
46:39 And between the Aces?
46:41 - Yes.
46:43 - I'm just going to ask you
46:45 to participate.
46:47 Obviously,
46:49 for the 7s,
46:51 you're going to put your hand like that
46:53 and you're going to put the other hand over it.
46:55 I'm going to make the Kings disappear.
46:57 - Oh, really?
46:59 - Yes.
47:01 - You can do that?
47:03 - I can try.
47:05 I'm going to catch your 7s.
47:07 Do you have them?
47:09 You caught 3 cards.
47:11 1, 2, 3.
47:13 We have a 7, 2, 3, 7.
47:15 What do you have in your hand?
47:17 - 3.
47:19 - It can be like that,
47:21 or
47:23 a second way out,
47:25 where I use a down hand.
47:27 It's an idea I had
47:29 a while ago,
47:31 but Marleau found it long before.
47:33 The idea is
47:35 that I show
47:37 that the cards have disappeared.
47:39 I catch the 7s,
47:41 and they come back.
47:43 They don't come back yet.
47:45 - They won't come back.
47:47 - There you go.
47:49 - OK, yes.
47:51 - For the last one,
47:53 you don't need to do the down hand,
47:55 because when you do this,
47:57 when you do this,
47:59 for the last one,
48:01 you have to
48:03 do this.
48:05 For the last one,
48:07 you can...
48:09 No, don't throw, just put it down.
48:11 - Yes.
48:13 - I'll do it again,
48:17 because...
48:19 - Do we do everything?
48:21 - No, just this.
48:23 You can make the cards appear
48:25 by doing this.
48:27 - Yes.
48:29 - Or,
48:31 it's the same thing,
48:33 you take one out,
48:35 because you have to put it down,
48:37 put it down, put it down,
48:39 and instead of giving the bottom,
48:41 you can put both.
48:43 In rhythm, it works very well.
48:45 - Yes.
48:47 - There you go.
48:49 It's a transposition.
48:51 - Yes.
48:53 - Transposition, in fact.
48:55 - In transposition,
48:57 I saw...
48:59 I worked on something
49:01 that allowed me,
49:03 like many other tricks,
49:05 to find a pass
49:07 that would suit me.
49:09 Because often,
49:11 in transposition, there's often the truce,
49:13 and it bothers me a bit,
49:15 to show the same card 25 times.
49:17 So now I'll do a trick with 4 Aces.
49:19 Claire, be precise.
49:21 1, 2, 3 and 4.
49:23 Yes? - Yes.
49:25 - These 4 Aces are placed here.
49:29 Now I ask you to say "stop" whenever you want.
49:31 - Stop. - And we'll choose two cards.
49:33 You'll try to remember these two cards,
49:37 it's important. - Yes.
49:39 - Yes? - Yes.
49:41 - King and... - And three.
49:43 - We'll place them here,
49:45 very far from the Aces.
49:47 Remember that here
49:49 we have the... - Aces.
49:51 - The Aces. OK.
49:53 We'll try to do something a bit special.
49:57 We'll place a wall between the two,
49:59 it's very important, to avoid manipulation.
50:01 So here we remember, we have the 4 Aces,
50:03 and here the 2/4 of a choice.
50:05 If we just make a simple movement,
50:07 suddenly here,
50:09 we have only 2/4,
50:11 and here 4. 2/4 of a choice,
50:13 and the 4 Aces.
50:15 It's almost an immediate transposition,
50:19 in my opinion. - Yes.
50:21 - Which can also be done
50:23 in the hands of a spectator,
50:25 and it allowed me to discover
50:27 this pass,
50:29 which allows, we'll see the explanation,
50:31 to avoid showing the Aces one after the other,
50:33 since it's done at once,
50:35 showing the 4 Aces at once,
50:37 we can do whatever we want.
50:39 And in the process, I don't know if you're interested,
50:41 in transposition,
50:43 I have something
50:45 that interested me, because at one point
50:47 I worked on visual.
50:49 I don't know if you remember, in Champagne,
50:51 there was at one point
50:53 a visual aspect, like this, you know.
50:55 And I continued
50:59 a little bit in this,
51:01 it was the idea of working on the same thing
51:03 as the pieces, but with the cards.
51:05 So here's what it looks like,
51:07 I'll work with the 6 and the Jack of clubs.
51:09 Jack of clubs towards the middle of the game,
51:11 you see it, I let it pass.
51:13 What's left here?
51:15 - The 6.
51:17 - Yes, the 6, exactly.
51:19 The 6.
51:21 So here we have the 6 and the Jack.
51:23 - Yes.
51:25 - Here we have the Jack.
51:27 Perfect.
51:29 And here we have the Jack.
51:31 And here I used the tilt
51:33 at completely different ends.
51:35 - Yes, that's interesting, as a bluff,
51:37 as an illusion.
51:39 - Yes, because the tilt
51:41 has this particularity of giving the impression
51:43 that we're losing a card in the game,
51:45 whereas here it gives me another picture
51:47 where we see the card in the middle of the game
51:49 and the same picture at the end,
51:51 since there's a bluff and a real card.
51:53 And we'll see that in the explanation.
51:55 You have something too, don't you?
51:57 - In the transpositions,
52:01 yes, there are lots of things.
52:03 There's one that I can do
52:05 at the end of that,
52:07 or I can do it directly,
52:09 but I'll do it with 3 cards.
52:11 It's a bit more complicated.
52:13 - Yes, it's a bit more complicated.
52:15 - I'll do it with 3 cards.
52:17 Do you remember anything?
52:19 - Yes.
52:21 - You have to follow the 8.
52:23 - It works.
52:25 - It's easy, but since it's in the middle,
52:27 it's not very hard to follow.
52:29 8. It's starting.
52:31 I think I've got it, it's down there.
52:33 - Ah.
52:35 - It's there.
52:37 Ah, no. It's there, no.
52:39 It's crazy.
52:43 It happens to me often.
52:45 - I can't help you with the turn.
52:47 - No, but that's the turn.
52:49 You've made a magic pass.
52:51 - Ah.
52:53 - You've made it a bit strong.
52:55 - Yes.
52:57 - It's rare to have only 8 in a game.
52:59 - Yes.
53:01 In the end, there are jokers.
53:03 - Listen.
53:05 We'll make at least one disappear.
53:07 - Yes, it will be the simplest.
53:09 - And in fact, here we have jokers.
53:11 - Yes.
53:13 - No, it's not really gone.
53:15 It's in the pocket. There it is.
53:17 But be careful.
53:19 1, 2, 3, hop, there are jokers.
53:21 - 8.
53:23 - Yes.
53:25 - Good.
53:27 It's subliminal.
53:29 We don't see it, but at the same time,
53:31 we say to ourselves, "It's necessarily that."
53:33 - It's the spectator who gets injured alone.
53:35 It's very good, it's practical.
53:37 We just have to make sure
53:39 that the spectator does the turns himself.
53:41 - I have something that is also
53:43 very little known about Marleau,
53:45 which is the 3 of spades, a bit like you at the beginning.
53:47 It's something that allows people to
53:49 chain if they want to, why not.
53:51 It's, like in all good tricks,
53:53 to follow the red card among the black ones.
53:55 - I see it in the middle.
53:57 - It's in the middle.
53:59 I'm not going to do what we usually do,
54:01 move with the cards,
54:03 create suspicions.
54:05 Look carefully.
54:07 I'm going to take the red card gently.
54:09 No manipulation.
54:11 Good, my dear.
54:15 We have two black ones left.
54:17 And in fact, the famous red card
54:19 becomes a black card.
54:21 So then, free to the imagination,
54:23 and to the imagination,
54:25 to do what we want with it,
54:27 the red card having
54:29 totally disappeared.
54:31 - Very good.
54:33 - It's also something that
54:35 went unnoticed.
54:37 - A very nice pass from Marleau.
54:39 - Sometimes, there are passes
54:41 and we don't know where to put them.
54:43 That's why it's good to know them.
54:45 It reminds me of something that is not known either.
54:47 I saw it
54:49 when reading
54:51 on the cards
54:53 in the case, where he puts the cards
54:55 in the case with the tankai, etc.
54:57 We know Marleau.
54:59 - Yes, the question of tankai,
55:01 he didn't hesitate.
55:03 - He looked in several directions
55:05 and inside that,
55:07 he has
55:09 something amusing.
55:11 I take some cards.
55:13 I'm doing a little tour
55:15 of thought cards,
55:17 just for the application.
55:19 But it can go into
55:21 more elaborate routines.
55:23 It's just for the example.
55:25 You're going to think of one of the cards I have.
55:27 You can think of the first, second, third,
55:29 fourth, fifth, sixth, seventh.
55:31 Have you thought of a card?
55:33 - That's it.
55:35 - OK.
55:39 I think you thought of this card.
55:45 - It's a dice.
55:47 - You see, there are still
55:51 one, two, three,
55:55 four, five, six. One is missing.
55:57 - For the moment, there is only one card missing.
55:59 - Which one is your card?
56:01 - The spade.
56:03 - There is no spade.
56:05 - OK.
56:07 - And it's in my pocket.
56:09 For example...
56:13 - It's terrible.
56:15 It's terrible.
56:17 You get fooled, but it's serious.
56:19 - It's bluff.
56:21 There is a turn of Marlowe,
56:23 I think I've already seen you do it,
56:25 which is not bad.
56:27 - Yes, I know what you mean.
56:29 - We have a card...
56:31 - I know what you mean.
56:33 - You see what I mean?
56:35 - You play the spectator's roll.
56:37 - OK.
56:39 - I'm concentrating.
56:41 You can tell me "stop" whenever you want.
56:43 - Stop.
56:47 - OK. Your choice.
56:51 Someone influenced you.
56:53 - I could have said "stop" further.
56:57 - It's true.
56:59 - It's funny,
57:03 in this game I put a card
57:05 a bit special,
57:07 with a back
57:09 of a completely different color.
57:11 The game is normal.
57:13 You can see for yourself who it is.
57:15 It's normal.
57:17 All the cards are different.
57:19 Do you remember the card you thought of?
57:23 - Yes.
57:25 - Yes? Go ahead, turn.
57:27 - 9 of hearts.
57:29 - OK.
57:33 Now you know the principle.
57:35 You can play
57:37 what I didn't want to influence
57:41 your way of seeing things
57:45 in relation to the card's choice.
57:47 Now you know exactly where you're going.
57:49 You're going to say "stop"
57:51 whenever you want,
57:53 on the card you want.
57:55 - Really?
57:59 - Yes.
58:01 - Here it is.
58:03 - Here?
58:05 - Here.
58:07 - Perfect.
58:09 Do you remember earlier
58:11 I had a different card in the game?
58:13 - Yes.
58:15 - And in this game I put a different card.
58:21 Do you remember the game again?
58:23 - Yes.
58:25 - Normal.
58:27 - What was the name of your card?
58:29 - 10 of diamonds.
58:31 - 10 of diamonds.
58:33 - Yes, it's strong.
58:35 Very nice.
58:37 [BLANK_AUDIO]