
English: 
(flames crackling)
(mellow music)
- Once Susan Sausage has
shuffled the playing cards,
the magician takes them back.
One playing card is seen to propel
through the air,
it is the ace of diamonds.
The magician snaps his
fingers for no reason,
he reaches into his pocket
where he returns with
another ace, the ace of spades!
He then takes the deck, and slams it!
(claps hands)
The deck of cards is seemed to vanish
leaving behind one playing card.
It is the ace of hearts.
As the magician distracts
you by making you
look here, here, and here,
that gave him enough time to place

German: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

German: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

English: 
the fourth ace on the table.
I'm Daniel Madison, this is F'ing aces!
(imitates gunfire)
(thoughtful piano music)
Hi I'm Daniel Madison,
welcome back. (claps hands)
Thank for being here.
In this video, I'm gonna
teach you something called
F'ing aces, F'ing obviously
is a little bit short
and it stands for Finding aces.
What else could it have possibly meant?
This is a cool and snappy trick,
it's a way of finding all four aces,
one after another in a shuffled
deck in a very cool way.
You hand the deck over to Susan Sausage,
she shuffles them
thoroughly and as soon as
she gives you that deck back, bang!
One playing card shoots out of the deck,

English: 
it's the first ace.
Snap!
A card vanishes from the
deck, it is in your pocket.
It is another ace, bang!
You bang the deck
(claps hands)
the deck vanishes, leaving
behind one playing card.
It is an ace.
The final ace is a lovely surprise,
it is found mysteriously already
with the other three aces!
Now this is a trick that was
heavily inspired by Dynamo
way before he was Dynamo.
I'm gonna tell that
story too in this video,
but right now, get yourself
a deck of playing cards
and let's learn F'ing aces.
Charlie, Charlie, Charlie!
This is actually a really cool trick,
a trick that I love doing.
A good way to start a trick
that involves four playing cards.
This is a way of finding
those four playing cards
in a very magical way.
Charlie, as you already know,

German: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

German: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

English: 
this trick was inspired by
Dynamo before he was Dynamo,
back when he was just Steve.
I was in the Bradford Magic Circle,
and there was this kid lecturing,
it was his first ever lecture.
And his lecture notes were printed on
one piece of A4 paper, and
that baffled me a little bit,
and it made me pay more attention.
And this kid was amazing
with playing cards.
I went straight up to him afterwards,
introduced myself, and
we became tight, Charlie.
He was a really good friend of mine.
And of course he still is,
we're both Bradford lads you know?
But up until meeting him,
I'd never known of this
style of magic before.
The way of just revealing
four playing cards,
four of a kind and that
having be the trick!
Didn't really make sense to me
until I started playing with it.
This is the first one I came up with,
and I still use it to this day, Charlie!
And you know me, it might be easy,
but I talk a lot because I
wanna get that information down!
I don't wanna leave my
audience asking questions.
Should we get straight to it?
Should we get into it?
Should I do some demonstrations?
That's right Charlie!

German: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

English: 
I'm Daniel Madison,
you're Charlie Madison,
who the (beep) (cat crying) is this guy?
This is F'ing aces! (imitates gunfire)
In all seriousness, this is
actually a pretty cool trick.
Give the deck out to Susan,
she shuffles them and
gives them back to you.
You cut the deck once,
a playing card propels
away from the deck, ace of spades.
You then reach into your
pocked and return with
another ace, ace of clubs this time.
You then take the deck
right in front of them
and slam it (claps hands)
between your hands.
The deck seems to vanish,
leaving behind one playing
card, the ace of diamonds.
Then as you make them look
away for a split second,
you've already got the fourth
and final ace on the table.
I'm Daniel Madison and this is F'ing aces!
Yeah!
Right from the very start I have
an extra deck of playing
cards in my right pocket.

German: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

English: 
This is a brand new deck,
it's in brand new deck order.
That's very important,
that it's gonna go in my right pocket.
We'll get to this in a moment,
it's not actually, it's not
necessarily part of this trick.
But you're you gonna love
what I'm gonna do with this,
and this is something
that I take advantage of
whenever I can.
So we'll focus on the trick for now,
you want the four aces.
You need to start with them,
or start the trick with
them all on top of the deck.
So, for this to make more sense,
for this to be more magical,
the playing cards have to
be shuffled by a participant,
by Susan Sausage.
So when I give Susan the deck to shuffle,
I palm away the four aces.
You don't necessarily have to do that,
if you don't want to.
You can have the aces on top of the deck,
retain them in that position,
with finger two very simple idea
of shuffling the deck face up.
When I say face up I
mean so that you can see

English: 
the faces of the cards.
Now if I shuffle, I'm keeping
about 10, 15 playing cards
in place on top of the
deck by simply holding them
with finger two, very easy
idea, very simple idea.
While I'm doing this, I'm
talking about the trick,
I'm addressing the
audience, talking to Susan.
Meanwhile you can all see
the deck being shuffled.
For a lot of magicians,
for a lot of people,
this will be enough,
this will be enough of a,
enough of an idea to
translate to your audience,
to Susan, that the deck is
being thoroughly shuffled.
Me, I like to palm those aces away
before I give the deck to be shuffled so
just before we're getting
ready for the trick,
I will put those playing cards in a palm,
hand the deck out, and
I will just stand here
holding four aces in something
of modified gambler's cock.
Kind of a lateral palm,
there's no real name for it,

German: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

English: 
I'm just clipping all those four aces
to the flannel part of
my hand with finger two,
just so that Susan can't see them.
Note that the aces are face up,
and I also hand the deck
across to Susan face up.
This implies that I want her
to shuffle the playing cards face up,
I don't say this, I don't
make a point of this.
Because I don't want it to become a thing.
I don't want to say to her,
"Oh, you need to shuffle these face up."
Because then she's going to
trying to reverse engineer
this all, trying to figure out
why would he possibly need them?
And then they're gonna look closer,
they're gonna be looking.
So I just give them the deck face up,
and then they shuffle it face up.
If she turns it face down and shuffles,
I don't really care,
'cause when I get it back
I'm gonna turn it face up again.
However if I give it to like this,
she will more than likely
give it back like this.
Now this allows me to take
the playing cards face up,
and load them directly on top of the aces,
and I do this without looking at my hands.
I say this a lot in my videos,
you don't look at your own deception

German: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

German: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

English: 
'cause that instructs them,
subconsciously instructs them
to look where you're looking.
So don't look at the deception,
and neither will they.
So when I take the playing cards back,
I wait for a moment, so I
keep the dirty hand here
and I wait for a moment.
And then when I'm comfortable that
they're looking directly at my eyes,
I slowly move that deck
back on top of those aces.
And then I'm in position
to start the trick.
So all that just to start the trick.
Now Susan shuffled this deck thoroughly,
she's handed it back and I can
go straight into this trick.
This makes the trick look more impossible,
or so much more difficult,
and it makes you look,
the performer look like,
you've got more skill
than you actually have
'cause it looks like
you're finding those aces
in a shuffled deck.
If you didn't shuffle the
deck to begin with then
it's kind of rebuilding.
So it's a very important
part of the trick,
and that's why I like them to it.

English: 
The more that they can do,
the more that they can
get involved and interact
and be physically part of the
trick by touching these things
then you're onto a winner.
Especially when this trick then relies on
you giving them playing
cards one at a time
for that final kicker,
we'll get to that when we get to that.
The whole point of this is once you
reveal the first ace, you're
gonna give it to Susan.
So she's gonna be holding the cards,
we'll get to that in a moment.
So now you've loaded the
aces on top of the deck,
they're now on top of the deck.
For the first trick, for the first card,
it's the top playing card, right?
So I'm gonna go into a snap,
which I taught a few videos back.
Just go a few videos back on my channel
you'll find the lesson in how to do this.
(chuckling)
And obviously you have
to be able to catch.
You don't have to do that,
but I like the first on to be kind of
snappy,
(snaps fingers)

German: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

English: 
kind of fast and quick and to the point.
Another idea that I used to do was,
kinda a bit top shop, bonafide top shop,
if I grip the deck very tightly
and pull down with finger
four, with my pinky,
then I can allow the card
to pop away from the deck.
The deck doesn't change order,
and the other aces are on top,
and I've revealed the first ace.
However before we do that,
I don't want Susan or
anybody else to believe that
that card was on the top all along,
or that she somehow magically
shuffled it to the top.
It kind of portrays,
it lets them know that
I've somehow manipulated
that card on top of the deck.
I want it to look like
I've found that card,
so when she gives me the deck
back, I've laundered the aces.
I stand here, I'm gonna
do a few false shuffles,
just a few kind of, they call it Hindu,
an overhand or a backhand move.
But basically I'm just pulling
the bottom part of deck one two,
deck's still in the same
order, the aces on top.
So I do this, it looks like
I'm cutting to the first ace.

German: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

German: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

English: 
So I go one, two, (slaps deck)
and as soon as I'm there, I look away,
I don't look at this.
And then I catch the card.
There's something
beautiful about not looking
at what you're doing.
And you don't really need to look at,
and when I say don't look, I don't mean
make a point by looking into the sky
or saying I'm not even gonna look.
Just this nice little moment where
you think have I done this right,
let's find out.
And look, the card is there.
So that's card one.
Right now I'm gonna set precedent.
You're gonna put it into
Susan's open palm, face up.
So you're gonna say to her,
"Susan, hold your hand out.
"Keep your hand like this for me."
So she's gonna stand
there like this, like.
With the pressure of it,
with the responsibility
that you've just given her.
When you instruct somebody
to hold the hand like this,
then you're instructing
them to be like that
until you give another command.
Because that is a command.
If you say, "Hold the ace."

English: 
She's gonna hold it however she wants,
however she understands
what those words mean.
"Hold this playing card."
That can mean, that
can mean so many things
because I decide how
I hold a playing card,
thank you very much.
But if say to you, "Hold
you hand like this,
"and keep it like that."
Then she's not going
to all of a sudden go,
you know she's not, she's
gonna stay like this.
So it's important not to
say, "Hold onto this."
Just say, "Put your hand like this for me.
"And keep the ace where
everybody can see it."
Or maybe you don't need
it but sometimes it's wise
to give an extra instruction.
Like, "Hold your hand like this."
You put the card on top.
"Just keep it there were
everybody can see it,
"we're gonna go for the other ace."
Or, "We're gonna go for another ace."
Or how I like to do, don't
tell them what's coming next.
I think at this point, when
you're showing the first ace,
they kind of know at this
point what's coming anyway.
So your lamb, which is kind of up to you
and it's kind of dependent
on the situation,

German: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

English: 
or which the environment,
the audience, et cetera.
So the first card's been
realised, the first card.
So, you do the catch, you do the snap the,
you've instructed them
to hold the hand out,
the card's now in the hand.
You're gonna go to the
second playing card.
While all this is happening,
while all this is happening,
I with the deck I've pushed
the top two cards over,
and then pulled them back
with a break underneath.
So finger two is now underneath
the top two playing cards.
Very easy idea, all I'm
doing is holding it very
between the top to cards,
so that the top two cards
are squarely together,
nice and tight, and I have
a big gap underneath them.
Because what happens next is,
I'm gonna come back to the deck.
With my free hand, I've
just put a playing card down
now I'm back to the deck.
And I'm gonna hold all
the cards from above
as if I'm holding the entire deck.
This is what it looks like for this hand
to hold the entire deck.
So I'm gonna do that but
I'm only going to grip
those top two playing cards.
So I go like this, my hand like this.

German: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

German: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

English: 
Now this is a very specific image.
My thumb is round about
the middle of the back,
finger one curled over on top,
and the other three fingers
have made their way almost
all the way across the deck.
So if I stand like this you
can see the side of the deck,
and the top.
If I stand just like this, head on.
All of a sudden you can't
see the side of the deck,
you can just see the top.
This is very important because
what we're gonna do next
is steal the deck and leave
those two cards in hand.
So it looks like this, I've cut my break,
I put the ace in the hand like this,
I come back to the deck,
and now I go to my pocket.
It still looks like I'm holding the deck,
because of the shape of my hand
when really I've just
got two playing cards
because I've stolen the whole deck.
Now you don't want to rush this.
It's gonna feel like you wanna rush this,
you're gonna feel like you wanna go fast
because you're holding onto
almost a completely full
deck of playing cards.
You're holding onto 49 playing cards.
Unless you've got a duplicate in there,

German: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

English: 
so you're holding onto 50 playing cards.
And there's no kind of,
it sounds weird to say it and
maybe it's a bad teacher of me
to say this but there's no method to this
other than taking the deck
and going to your pocket.
Now a few notes, I do
make sure that that deck
is beyond this line, beyond the red line.
This is known as the red
line where your finger
joins up with your hand.
If it's beyond the red line,
then no no I know I'm safe
because when I take the deck
away and curl my hand down,
my thumb can line up with my finger
and hide whatever's in the hand.
And the finger can still stay outstretched
and pointed because if
it goes down like this
it looks like something in it.
If the fingers are open it looks like
you can't be holding onto something.
All the while, the clunge of my thumb
is pressing down into the hand.
Fingers three and four
are also pulling that deck
into my hand so

German: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

English: 
in real time, it's not
really even a method
I'm just taking that deck to my pocket.
What I'm relying on is this hand,
the body language, the behaviour is
slow enough for nobody to look,
but more importantly, you
can still see the deck
as far as anybody's
concerned, the deck is here.
I'm holding onto it.
All I've done is transfer the deck
from this hand to this hand.
I'm taking the deck into this hand.
So the deck is now here.
So what happens next?
I put the first card down,
take those two cards from above,
it looks like I'm taking the deck.
This hand, the dirty hand,
takes the entire deck to my pocket.
What I do to get to the pocket,
I come back and I say, "The
next card is in my pocket."
So I'm giving myself the justification,
and the reason for this arm
to be going down here anyway.
And by the time I've
finished that sentence,
that is when they look at the pocket.

German: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

English: 
So they're not looking
at the pocket first.
I don't say, "The next
card goes to my pocket."
And then I got to my pocket,
I don't want to do that,
I'm setting myself up for trouble there.
I need the instruction, or
that statement to have finished
by the time my hand's in my pocket
for the psychology of that to work.
It also justifies everything,
it makes everything just look so natural,
when I go, "The next
card is in my pocket."
Now, I've finished the sentence,
with my hand's in my pocket
so nobody was looking
at this moment, nobody
was looking at this.
Or nobody was looking at my
pocket before I got to it,
because I didn't tell them to.
So I'm here, the next
card is in my pocket.
Now I just dump the
entire deck in my pocket,
and then come back with
the top playing card,
which is the next ace, the
ace of diamonds in my case.
I now very easily put the
ace into Susan's hand,
get this hand ready, come back.

English: 
And I say the third ace, "Watch the deck."
So big, empty, open hand.
Now this is so that I can do a few things,
show that this is empty, that
I'm not holding anything,
the deck.
I carefully put the
entire deck into my hand.
Now all this time they
believe that this is the deck,
all this time so I'm stuck
here, holding this deck.
I don't wanna be hiding,
I don't wanna look like
I'm trying to hide something
because that's gonna
make people look.
I just wanna be stood here very natural.
As long as my hand is in this position,
as long as as they can
see the top of the deck,
the top of these two playing cards,
it's gonna look like the deck.
When I address this,
when I talk about this,
I refer to it as the deck.
I hold it in this hand.
I do the transfer as if it's a deck.
You've got to ask yourself,
what would it look like
if this really was a deck
going from here to here.
What would it look like,
and that should go what you
want to make it look like that.

German: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

English: 
So I put this ace down very
carefully into Susan's hand.
Bring my hand away from
these two playing cards,
'cause I want to, at the
same I'm doing all this,
I want to establish a good distance
between me and these two playing cards,
because of the next step.
I need a good distance here because
I don't want them to think,
in a few moments time,
that I was close enough
to have done something.
That'll make sense in a
moment, so I put this down
into her hand, I come back here.
The next card, watch the deck.
So I put it into this hand
as if it's a full deck.
And this is a very easy thing,
I kinda curl my hand up a little bit like,
it looks a bit weird and
it's harder to explain
than just showing you.
When the deck goes in,
I have so that they can
only see the top of it.
So I put it here like this.
The fingers curled around the side allow
quite a bit of depth
perception manipulation,
so it looks like a deep object.

German: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

German: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

English: 
It looks like I'm holding more than one.
Really I'm just pinching the top two cards
between finger one here
against the side of the thumb.
And the fingers are
pretending to curl around
an entire deck of playing cards.
So I'm now in this position,
bear in mind I'm only in
this position for a second.
Only for a quick moment,
so I go from here,
to here,
watch the deck.
As soon as I put this down,
I'll now show that this hand is empty.
Big open hand,
and then slam.
(claps hands together)
So once I've slammed, I can
feel the two playing cards
have separated, I can feel that.
I don't need to worry.
There's a very specific
way that I do this.
When the two playing
cards are here and I slam,
I want these two playing
cards to kinda fall back
into my hand, not forward.
Backwards into my hand.
This does a few things, one it makes,
it clearly shows the hand cannot
be hiding a deck in there.
The hands are flat together.

German: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

English: 
You can barely see anything
from the front because
I'm not showing any playing
cards from the front angles.
They're all in the back where I can see.
Nobody can see back
here because of the way
that I'm holding my hands. (claps hands)
So I slam, it goes from,
this is also why it's
important that this hand
looks kind of small and all curled in
when you're holding the deck,
because it makes this
moment look so much bigger,
very subtly, very subconsciously.
So I go here (claps hands together) slam.
I'm now gonna hold this
pose for a few moments,
and I'm not even gonna
tell them what's happened,
they can see for the
themselves, watch the deck.
So now, the two playing
cards are separated
because of the action, they will,
you know there's no control over it.
Don't try and control it, let it happen.
I do this is, I don't
even say what's happened.
I slowly pull my hands apart,
as I'm doing this,
this hand is pushing those
cards together again.
And then this hand comes to the back,

English: 
and I straighten the two cards up
at the corners like this,
as I pinch them on the
end with my fingers.
Now, when you do this you'll see
how easy it is to just
straighten those two cards
and show them.
Especially at that last
moment because I'm going to
straighten them like this,
pinch them at the corner.
Finger two is now underneath,
finger on on top of the thumb
at the very back.
And this thumb, the empty
hand now is gonna help
push those two cards in.
So just doing this, I'm
doing the straightening
of these two playing cards
so that they look like one playing card.
At this moment, when
I get to this position
where I know that there's trick
I pop them off my thumb, like this.
So this shows one card without
me saying it's one card.
It shows one card because it is one card.
I don't have to say the
third ace and no deck,
'cause that's obvious.
So the deck vanishes,
and I'm stuck there with one playing card.
This is a very important moment now
because you're gonna
put two playing cards,
which are held together as one.

German: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

English: 
You're gonna put two playing
cards into Susan's hand,
she has to believe that
you're only putting
on playing card in her hand.
So your body language is
gonna do the rest of the work.
I go from here,
and I'm not gonna give
it to her straight away.
We're gonna establish that
the deck has vanished,
that this is the third ace.
I'm gonna wait a few moments and say,
"And the fourth and final ace."
So I'm talking about the next step
before I've completed the third step,
because I don't want to put this down,
carefully and then go,
"And the fourth and final,"
'cause I'm giving them too much time to
look down into that, I'm giving Susan
and the rest of the audience
time to look down and see
what I've done because right
now is a very important moment.
So I stay here and I say,
"The fourth and final ace
is," and then I start to,
I start to not misdirect but
direction their attention
over to the same pocket,
over to the same pocket

German: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

English: 
because they've seen me
go to that pocket already.
And as soon as I look down there,
and I start to come
around here with my hand,
they can kinda fill in the blanks.
What's that line that,
magic is at it's best
when it has nothing to hide.
Which leads into, you're
not lying to them.
I'm not lying to them, I'm
showing them something,
and I'm allowing them
to lie for themselves.
They're lying to themselves.
All I'm doing is looking at
my pocket and coming round,
they fill in the blanks.
So as I'm here,
that's when I put the ace down,
and I look over at Susan
for a moment to put it down.
And then I look at the ace going down,
I then look up at her, and look back so
this all seems very nonsense
and very unnecessary,
but when it goes down here,
she's looking here too.
She looks down too 'cause she wants to see
what you're putting in her hand,
she wants to establish the third ace.

German: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

German: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

English: 
Now I look up at her, that
makes her look up at me.
At that moment I simply
spread the playing cards,
I spread these two playing cards so that
I look up as soon as
I'm secure and confident
that she's looking away from these aces,
I quickly spread those two aces
before I put them down
and then I come away,
so she's now holding four aces
but without knowing it.
She thinks that I've just
dumped one, two, three.
Because I have, I've done one, two, three,
but the third one was two playing cards.
So in kind of a time,
in kind of a real time, let's say.
It's like this, I look, she
sees that, she establishes that,
I look up at her, I spread them.
And then I come back.
So everybody's looking here,
all the attention's here.
And the suggestion is now gonna collapse,
because I'm not suggesting anything.
I'm not saying anything.
The body language is allowing
them to believe what they want
which is kinda what I
want them to believe.
All I'm doing is making them
look away from the cards.
So they assume I'm going
to go to this pocket,

English: 
and I say, "The fourth and final ace."
What this does, it allows me to
build on that establishment
that we already have,
this distance between me and the aces.
So I step back, a whole step further,
which won't be recognised,
they won't see it.
They won't feel it.
It'll just make sense in the end,
they'll add a little extra something.
So I take one more step back,
very carefully, slowly,
not making a point of it.
As I go over here, this
hand's wide open as if it's
going to go into my pocket
and this hand comes back,
as if to come this way as well,
but all I'm doing is showing empty hands,
that's all I wanna do at this point.
I come here, as soon as
that moment of silence where
the anticipation is building (gasps)
where's our final ace, is it
in his pocket again, what?
All that empty space
that they fill with those
kind of assumptions and questions.
I'm back here, and as
I'm working my way back,
"The fourth and final ace is,"
and I pause.
I line up the body language,

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German: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

English: 
this gives me so much
more time and distance.
Look how far away I am from the aces.
I can't reach them.
I've moved myself away from the situation,
I've got all the attention,
and I've tricked them
into coming over here.
I said, "Fourth and final
ace is already in your hand."
Now they look down, she
sees four aces in her hand.
This is a very simple,
easy, basic trick but
that's a real magical moment, that is.
And when the audience, when
she was to analyse this,
look how far away I am.
I couldn't have done anything,
after putting that third card down.
I couldn't have done anything.
Even more to the point,
the final ace, the ace of hearts,
is not on top.
If I were to have snuck
that into her hand,
it would've been on top,
or so their little squirrel
peanut brains are gonna think!
(laughing)
The automatic assumption
won't try and figure out

German: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

English: 
that much, it could've been
hiding behind the ace of spades.
They're just going to
assume, wow he didn't,
it wasn't even on top,
and don't bring that up.
Don't bring that up to them,
don't say, "Oh and it wasn't even on top!"
Just let them, let that sink in.
When you say, "It was in
your hands all along."
They look down and it was,
because it's not even on top.
It's a real magical moment, it really is.
Everything can be inspected at this point.
Now that this is done,
now we have a true miracle on
our hands, just awaiting us.
So we take the aces back.
But the aces might be inspected,
they might be being
expected at this point,
which is a good thing,
which is not a problem.
At this point, the trick's done
and it's kind of irrelevant.
It doesn't even matter
where the deck went but
this is where we can bring in
and introduce a miracle,
something really special.
When I go to take the deck
back out of my pocket,
I'm not gonna get the deck
that we've just been using.
I'm gonna get the deck that
we set up from the start.

German: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

English: 
A brand new deck, brand new deck order.
This deck is in brand new deck order.
Now a few things happen here, in the back,
this is in the audience mind.
If you reverse this trick,
if you were to actually
reverse it on film,
I never went near this
pocket, not for a moment.
So there might be someone around,
someone in the audience, even Susan.
She might note that,
she might know that.
So it's kind of impressive when you go,
"Oh the deck, by the way the deck,
"the deck's in my pocket."
It's kind of an after thing where they go,
"I didn't even see that!
"How could he have done
that, that's wild!"
The point is, they just accept
that this is the deck
we've been using all along.
Obviously you need the same
back design (chuckling)
you don't a pink deck out.
So there's a little miracle there
in the reverse engineer of it,
reverse engineering of it.
However what we're achieving with this,

English: 
I like to do this aces trick
towards the end of a set,
towards the end of a bunch of routines
where we've established that
the playing cards have been shuffled.
This is what I said in the beginning,
it's so important that Susan
shuffled the playing cards.
She's the one who shuffles.
Because of this moment.
Now, first of all, I
wanna get rid of the aces,
and I'm in a dead moment.
I'm in a dull, quiet
moment after the trick,
awaiting a new trick but
you're letting it sink in,
you're letting them think about the trick.
You know when you're in
the middle of a trick
that everyone is kind of potentially is
so forced and focused but
we've achieved the trick now,
so everybody chills out and relax.
This gives me a moment where
I need to get these aces
back to this deck, or at
least away from this deck.
So there's a few different
ways I can do that.
I can simply just do it,
which is what I usually do.
You know, no one's watching,
there's no intention,
so I'll just take the aces and pretend
to put them on the bottom of the deck,
put the deck down and just step back.

German: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

German: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

English: 
We're in that moment
before a trick's happening.
If you wanna apply a method to it,
a methodical way of getting
those playing cards to your pocket,
there's so many things you can do.
You can pretend to lose
them all in the deck,
meanwhile you pass them through.
I don't wanna teach anything
or suggest anything like that
because I like the idea that,
if you're gonna perform this,
I want you to see what happens
if you were to just do this.
So I take the deck out,
say, "Oh yeah, the deck was in my pocket.
"I'll show you something else."
I want you to try it,
just for your own benefit
so you can see the things like
that you can get away with.
Nobody's looking.
At that point, when you're
in the middle of a trick,
between tricks, nobody's
looking at what you're doing.
Nobody's looking.
Especially with this deck,
when afterwards you can
turn the top card over and show an ace,
because this deck's in
brand new deck order.
Or show another ace.

English: 
At this point I don't like to
execute the final deception,
which is showing the deck
in brand new deck order.
I don't like to do that straight away.
I like to show maybe
one or two more tricks
that will allow the deck to
stay in brand new deck order.
So do a few more simple tricks
and then right at the very end,
you've got a deck of cards that's in order
where you can actually say,
"We've been shuffling
this deck the whole time,
"you shuffled this deck of playing cards."
The way that I like to do it,
I don't like to just spread it out
and show that the deck's oh by the way,
the deck's in order.
Sometimes that's beneficial,
sometimes that'll work.
What I like to do,
especially if you've done
a few more tricks is,
"I'm gonna try something
that I'm practising ,
"that I've been working
on this for 10 years,
"it doesn't always work."
Almost as if you're kind
of been trying to remember
what I said when cards are out
because of what's coming,
you know I'm suggesting
what's about to happen.
If you're near a table
it's a very good idea
to start executing some false cuts.

German: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

German: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

English: 
The more easy and relaxed this feels,
if you make it look like it's not a trick
but you're just gonna try one final thing,
the better.
Hit some false shuffles,
if you can false shuffle,
hit some false shuffles
right in front of them.
And then at the very end,
because I know that the king
of diamonds is on the bottom
and the ace of spades
is on top in this case,
I usually have this line where I say,
"If I've done this right,
"the top card will be the ace of spades,
"yes, and the bottom card
will be the king of diamonds?
"Yes, that means this has worked!
"The deck is now back in
brand new deck order."
And then finished!
You're done, that's the trick,
that's the whole set over.
This is one of the ways
that I like to finish
every single time I'm
performing with somebody.
The deck will always return
to brand new deck order.
Now this for me is something of,
it's kind of a negative thing.
I'm a bit obsessive with my playing cards
being in order.

English: 
The deck is always going to be in order.
The most powerful tricks I know,
happen with the deck in order.
I don't mean stuck,
I don't mean that they're stuck.
I just mean in order.
Ace through king, ace through
king, ace through king.
I don't specifically like this order,
because this is being reversed.
I like the king of diamonds to be on top,
ace of spades on the bottom, but still.
The fact that I can spread this out
and show a deck that's
in brand new deck order.
Especially after we've just
done a whole set of tricks
where they've shuffled, I've shuffled.
That is magical,
and they will probably remember that
more than any other trick that you did.
So that's F'ing Aces, I
do love the play on words.
F'ing, as if people used
to think it was swearing.
The F-swear-word-ing Aces,
but it's just Finding Aces.
So if you like this, let me know.
I like these short, kind of snappy tricks,
where's it's kind of
one, two, three, four,
and it's done quickly.

German: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

English: 
If you enjoyed this and if you
liked these kind of things,
let me know.
Tonnes more like this to share with you.
Let's go with an outro!
That was F'ing Aces,
I think it's a very wise decision,
I think it's a very beneficial choice
for all magicians to have
a find a four of a kind style trick
in their repertoire.
There are so many fascinating
and interesting methods
for finding playing cards like this,
four of a kind, one after the other,
each in a very cool way.
This is one of my personal
favourite versions,
and although I have so many
other ways of doing this,
this one's my favourite because
of all those little things
that it involves.
A card in the pocket, a deck vanishing,
a bit of an aerial action,
and then final surprise.
I'll be back very soon with some more dope
card trick tutorials.
All I ask, make sure
that you're subscribed
so that you get the notification
when another tutorial drops.
I'll leave a link in
this video description
to my sizzling new merch.
Oh man this looks!

German: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

English: 
And on a final note, if you use this trick
or any other of my tricks
on the social, on YouTube,
you don't need to credit me by the way.
I mean if your audience is
somebody who loves to watch magic
don't feel like you have
to credit the creator
because it leads that
audience away from your magic
to the method.
So if you tag me when you're
showing somebody a trick
they'll come and find me and
they'll learn how to do it.
So it's not always the best idea.
I do appreciate watching
people do my own work though
so I'm always looking.
Thanks, thanks for being here,
appreciate you choosing to
spend some time with me.
I'm Daniel Madison, see you next time.

German: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
