DARK

CONNECTION
Thomas Riboulet
DARK CONNECTION 2.0 – THOMAS RIBOULET

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 DARK CONNECTION 2.0 – THOMAS RIBOULET

TABLE OF CONTENTS

INTRODUCTION ........................................................................ - 4 -
THE « BREATHER CRIMPED CARD » ................................. - 4 -
SUMMARY................................................................................ - 6 -
DARK CONNECTION.............................................................. - 11 -
HISTORY ................................................................................. - 11 -
THE ROUTINE ........................................................................ - 13 -
THE SECRET........................................................................... - 14 -
EXPLANATION ...................................................................... - 14 -
RESET ...................................................................................... - 17 -
BRAINSTORMING ................................................................. - 18 -
DARK CONNECTION 2.0........................................................ - 22 -
FIRST VARIATION ................................................................ - 22 -
SECOND VARIATION ........................................................... - 23 -
BRAINSTORMING ................................................................. - 31 -
LAST WORDS ........................................................................... - 33 -
CREDITS .................................................................................... - 34 -

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 DARK CONNECTION 2.0 – THOMAS RIBOULET

INTRODUCTION
THE « BREATHER CRIMPED CARD »
The « BREATHER REVERSE CRIMPED CARD » is for me the best
key card. I advise you to make one for each of your decks.

To create a "REVERSE
BREATHER CRIMPED CARD",
nothing simpler, we will create a kind
of bubble, in the center of the card.
To do this, hold the card face down
FIG 1
between your thumb and
index/middle finger in the center. Thumb on the back, index finger and
middle finger on the face (fig 1). Your thumb applies pressure on the
center of the card, between your two fingers and moves towards the four
corners. You make a cross on this card (fig 2 and fig 3).

FIG 2 FIG 3

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 DARK CONNECTION 2.0 – THOMAS RIBOULET

This bubble allows to create a ripple in the middle of the card and, thus,
visually locate it when it is in the middle of the deck.

The « BREATHER CRIMPED CARD » can therefore be cut on the back

of the key card. In other words, when you cut the deck, our key card is
in the first position of the deck.

And the « REVERSE BREATHER CRIMPED CARD » which allows

you to cut on the back of the card that follows your key card. In other
words, when you cut the deck, our key card is in the last position of the
deck.

We will use « REVERSE BREATHER CRIMP » in the following

routines. This type of card has the advantage that it can be made directly
in front of the spectator. Imagine being able to borrow a deck of cards
and be able to do all the routines that will follow.

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 DARK CONNECTION 2.0 – THOMAS RIBOULET

SUMMARY

THUMB ON THE
FACE CUT ON THE
BREATHER BACK OF THE
CRIMPED CARD INDEX+MIDDLE
KEY CARD
FINGER ON THE
BACK

CUT ON THE
THUMB ON THE BACK OF THE
REVERSE
BREATHER BACK CARD THAT
CRIMPED CARD FOLLOWS YOUR
INDEX+MIDDLE ON
THE FACE KEY CARD

How can I use these cards with a borrowed deck?

To answer this question, I will

FIG 4
give you an example. To make a
« REVERSE BREATHER
CRIMPED CARD » with a
borrowed deck, I perform my
favorite ambitious card routine.
To conclude this act, I realize the
subtlety of Patrick KUN which consists in taking a double lift, to twist it
in its center according to the direction of the small edge (fig 4). So, by

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 DARK CONNECTION 2.0 – THOMAS RIBOULET

placing the double lift on top of the deck you will have like a bridge.
Then complete the routine and conclude. Then take the chosen card and
tell the spectators that it is unfortunately slightly folded and that you have
to make it « flat ». Then make a « REVERSE BREATHER CRIMPED
CARD ». It is important to understand that magic happens in your
spectator’s head. Moreover, we are in a weak time where attentions are
relaxed. This movement on the card will be insignificant to him. Relax
and act as if this movement is normal.

What are the problems associated with this type of key card?

There are several problems associated with the « BREATHER

CRIMP ». First, these cards sometimes stop working properly. This is
usually caused by moisture. Second, in some situations, the
« BREATHER CRIMP » cannot be openly displayed without fear that
someone will see the « X » pattern on the card. Indeed, the light
reflection may have an angle that indicates the presence of a key card,
for persons who know about it. From my point of view, we usually do
tricks for spectators who don't have a magic culture. Of course,
sometimes we want to fool magicians. I have therefore developed a
technique that produces « BREATHER CRIMPED CAR » much more
subtle and extremely difficult to spot, therefore more misleading and
versatile than the original. Maybe other persons think about this
technique but I never read it. In this version, there are no visual clues to
discover. A spectator will be able to freely manipulate these cards
without the slightest fear of detection.

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 DARK CONNECTION 2.0 – THOMAS RIBOULET

To make this variant of « REVERSE

BREATHER CRIMP », place a face-
down card on your carpet of cards and
wrap your right index finger in a tissue or
paper tissue (fig. 5). Hold the top of the
card with your fingers in your left hand,
FIG 5
then pull your right index finger on the
card from corner to corner. You then make a first diagonal. Make about
ten round trips in the direction of the two diagonals You then realize the
pattern of the « X » as before.

To ensure that the key card works properly, grasp it, face down, in the
middle of its large edge between your thumb, index finger and middle
finger, the latter slightly separated. Then exert a light pressure with your
thumb. If the map has been properly prepared, you will feel and hear a
slight « click » as the map is bent. If this does not occur, replace the card
face-up on your carpet and repeat the procedure until the card test is
positive. Then test your key card in a normal game by making cuts. Once
you are used to making this type of key card, you can adjust the pattern
in « X » by adjusting the number of diagonal moves and varying the
pressure applied.

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 DARK CONNECTION 2.0 – THOMAS RIBOULET

The basic routine with a "BREATHER CRIMPED CARD":

The deck of cards is given to the spectator to shuffle. When it’s done,
take back the deck and cut it just on the key card to pass it under the
deck. The cutting is done naturally. Just relax your fingers and lift up the
deck without thinking. If the key card is not too close to the top or bottom
of the deck, the cut will always be good.

Then a card is chosen by the spectator. Your game is in your right hand
and you then perform a one finger cut with your right index finger. Cut
about half the deck. Your left hand is picking up the cutted part of the
deck. The spectator places his card on the left hand and you cover it with
your right hand. The key card is now above the selected card.

Now place the game on the table, with the long edge facing you. Then
cut the game with your right hand at the key card level and then do an
American Shuffle by controlling the card on the top. When doing this,
the card chosen is the first one of the package left on the table. When
shuffling, check it in the first position of the deck. You are free to
imagine a revelation.

As you will have understood, the key card « BREATHER CRIMP » has
an unimaginable potential. Imagine being able to control a card, to locate
it, to force it, to guess the thoughts of your viewer. And all this thanks to
this key card, yet so easy to build.

Many magicians have done some fine research on this subject. I am

thinking in particular of Bob KING, Ted LESLEY, Nick TROST, Harry

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 DARK CONNECTION 2.0 – THOMAS RIBOULET

LORAYNE, Pit HARTLING or John BANNON, Larry JENNINGS,

Richard ALMANAC and Dai VERNON. I am far from being able to
confront them but, nevertheless, I am happy to share with you this
routine of my repertoire.

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DARK CONNECTION
HISTORY
Dark Connection is an effect based on an old principle that was totally
unknown to me at first but which I « discovered it » myself by playing
with my cards. So, I did some research to find out the background of this
wonderful principle.

The principles with key maps are very abundant but I will dwell on the
one of « card localization » described first by Harry LORAYNE, in his
book « CLOSE UP CARD MAGIC », of 1962 chapter « THIS IS
MINDREADING? ».

Ted LESLEY also discusses the use of the « BREATHER CRIMP »

technique in his book « PARAMIRACLE ». Bob KING in
« BREATHER CRIMP BOOKS » also includes different ideas about the
cross-key card and the location of the card.

Following the writings describing the principles behind the key cards,
many other magicians have taken up this idea to propose their
presentation. Here are a few of them:

• « Impossible » by Mike AUSTIN

• « The floating key card..plus » by Simon LOVELL

• « UnDo Influence control » by Simon ARONSON

• « Burger king card trick » by Kostya KIMLAT

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• « PM Principle » by Mike POWERS

• « A Miracle Discovery » by Chan CANASTA

• « Breather Crimp books » by Bob KING

• « Kismet » by Michael VINCENT

• « Dawn Patrol » by John BANNON

The idea of my routine was to move the key card away from the selected
card in order to give the illusion that it was impossible to locate the
chosen card.

I therefore looked at these presentations and one of them particularly

aroused my curiosity: that of John BANNON. Indeed, the modus
operandi of this magician is almost similar to the one I execute in
« DARK CONNECTION ». At least to « place » the card in the desired
location. This localization technique was first described by Larry
JENNINGS and later taken up by Simon LOVELL.

I do not consider that I have « invented » a new principle but rather,

« found without knowing it », a system little known in the magic of
cards, to propose an original application. Of course, I invite you to
browse through the different routines listed above, all of them more
extraordinary than the others.

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THE ROUTINE
The magician shows a normal deck of cards, turns his back on the
audience, puts a blindfold on his eyes and asks the spectator to pick up a
small pack of cards from the deck. The spectator shuffles the cards and
when he wants, looks at the top card. Then the spectator takes a larger
deck of cards from the deck and covers his selection. The magician asks
him to cut the deck as many times as he wants in order to shuffle the
deck and lose his card among the others. The rest of the deck, still on the
table, is placed on the cards.

The magician turns around and, always with the blindfold in front of his
eyes, explains to the spectator that he will take the deck, and show him
the cards one by one. During this sequence the spectator is invited to
only look at the cards scroll and say STOP in his head as his card passes
in front of his eyes. Without ever having seen the spectator's card,
without saying a word and always with the blindfold in front of his eyes,
the magician clearly shows all the cards of the game. Magically or by
telepathy, the magician finds the chosen card at the very moment when
the spectator thought STOP.

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 DARK CONNECTION 2.0 – THOMAS RIBOULET

THE SECRET
The secret results in the key card principle. This one will be the Joker
card. It is important to understand this principle. This key card will allow
you to cut at a specific location to control a certain number of cards. The
secret is therefore to be able to locate the card without never having seen
it when the deck has been cut off by the spectator time and again.
Impossible, you might say. Let's move on to the revelations!

Your key card will be a REVERSE BREATHER CRIMPED CARD.

This routine will only require a normal deck (52 cards) and its joker. We
will then see the routine that doesn’t use the joker. In both cases, the
modus operandi is the same, only the numbers to be memorized change.

EXPLANATION
To prepare the effect, simply take 23 normal cards from the deck and
place the joker and the rest of the deck. With a face down deck on the
table, starting from the top, we have: 23 normal cards, the joker (key
card) and the rest of the deck. It is important that the joker is always in
24th position (fig 6)

FIG 6

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Then ask the spectator to pick up a small pack of cards, such as about
ten or fifteen cards. It is very important that the spectator doesn’t take
the joker in this package. Then ask them to shuffle the pack and stop
whenever they want. He'll look at the first card in this pack.

Second important point, ask him now to take a bigger deck of cards, from
those left on the table, and put it on top of the deck he already has, a little
more than half. a little more than half. Why? Because now the spectator
must take a pack containing the joker. From this point, the trick becomes
automatic. You ask your spectator to cut the deck and complete the cut
as many times as he wish. To resume the situation, the spectator has a
deck of cards in his hands and there are still a few cards left on the table.

When it stops, there are two possible scenarios:

▪ You locate the key card in the middle of the deck. This is the
perfect situation (fig. 7).

▪ You locate the key card on top or bottom of the deck. Here it is
necessary to ask the spectator to cut the deck one last time to put
the key card back in the middle (fig. 8)

FIG 8

FIG 7

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Now take the spectator's cards and cut the deck to the key card. The deck
ending with the joker is placed first on the table, followed by the rest of
the cup and finally the rest of the cards on the table (fig. 9-10-11-12).
Believe it or not, the spectator's card will always be the 30th card in the
deck from the top (deck face down on the table). From that moment on,
all you have to do is count the cards up to 30. You will always find the
spectator's card without ever seeing it. Ask the spectator to think
« STOP » as he sees his card passing. In the construction of my routine,
I refer to the existence of invisible links. The experience is very
surprising for the spectator. Mark down times when passing cards. This
will reinforce the idea of a connection between you and the spectator.

FIG 9 FIG 10

FIG 11 FIG 12

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RESET
This principle allows a very good effect on the spectators. Moreover, it
allows the magician to be ready without any additional manipulation to
achieve the effect again. When you reveal the spectator's card (the 30th
in the deck), the remaining cards make up a deck of 23 cards ending with
the key card. All that remains is to add the card selected by the spectator
and place this pack containing 24 cards in the first position of the game.

Discover the routines in video by flashing the following QR code or

directly entering this Google mini-url in your browser (you can also click
on it):

https://goo.gl/j68g6G

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BRAINSTORMING
To reinforce the effect of the routine, I usually use a blindfold. This one
allows to have a vision by looking down (fig 13). This is necessary to
locate the key card and to be sure to cut on it. However, with a bit of
practice, you will be able to feel the key card without looking at it and
thus, achieve this routine in total darkness.

FIG 13

Another option of this trick is the choice of card. Let me explain: you
ask the spectator to pick up a small pack of cards (maybe 10-15 cards).
So, you can, in a small package, force a card, which you need. For
example, if you want your spectator to end up with a heart, just place the

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 DARK CONNECTION 2.0 – THOMAS RIBOULET

13 cards from the heart family on top of the deck. This opens up many
possibilities for presentations.

Imagine placing the hearts as said above. So, you're forcing a card from
the hearts family. You can prepare a prediction with first the « hearts
shape » and then the number 30. Thus, the routine will present itself as a
joke. You make your viewer believe that you have marked the name of
the chosen card on the prediction. You reveal the family and then when
you reveal the value of the card, you reveal the number 30. The spectator
will not understand and you ask him to count 30 cards in the game and
he will automatically find his card.

*
* *
The principle can be used without the Joker but taking a normal card.
Your deck will have only 52 cards left. Let's say you choose the 3 of
diamonds as your key card. To find the card chosen in 30th position, the
cards must be placed from above to below: 22 cards of any kind, the key
card in 23rd position and 29 cards of any kind.

The different manipulations mean that the last pack of 29 cards is

systematically rebuilt above the selected card, regardless of the number
of cards cut at the beginning (if you cut a very small pack, the rest will
be bigger). The selected card is always in 30th position.

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The advantages of using any key card such as the 3 of diamonds are
many:

• We eliminate the Joker in the deck. The deck will therefore

appear to be more « normal » if the cards are showed or if the
borrowed deck doesn’t contain a joker card.
• Just remember that the 3 of diamonds is the key card (or another
value).

To find the card by number, it can be interesting to avoid a round number

(30 for example). The choice of 29 will seem more innocent. In addition,
after the reset, if you switch to another table for example, it will be
enough to remove 1,2,3 or more cards from the bottom. And the chosen
card, which will be different each time of course, will thus find itself at
a different position (28th, 27th, 26th...). If a spectator follows the magician
to another table, each time the results will be 100% different, card value
and number.

Thus, with the original configuration, from top to bottom: 22 maps of

any kind, the key map (23rd) and 29 maps of any kind, the map chosen
in 30th position.

If you take a card from below and bring it back to the top, the selected
card will be in 29th position. We can summarize this in the table below,
considering a deck set facing down on the table:

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 DARK CONNECTION 2.0 – THOMAS RIBOULET

Key card Number of

Top package Position
Lower (position: last cards added
(number, of the
package position of from bottom
including selected
(number) the top to top (ref
key card) card
packet) line 1)

23 29 23 30 0

24 28 24 29 1

25 27 25 28 2

26 26 26 27 3

27 25 27 26 4

28 24 28 25 5

29 23 29 24 6

30 22 30 23 7

31 21 31 22 8

32 20 32 21 9

33 19 33 20 10

... ... ... ... ...

NOTA : The green highlighted line corresponds to the original layout of the cards.
The same table can be made for a 52-card deck + the joker.

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 DARK CONNECTION 2.0 – THOMAS RIBOULET

DARK CONNECTION 2.0

FIRST VARIATION
It is possible to achieve the effect with a marked deck. To do this, replace
the 23 cards above the key card with 23 marked cards. I use the Ultimate
Marked Deck (UMD) available in many shops. There are also many
other deck like the Phoenix deck.

In this position, the spectator will automatically select a marked card.

Once the cut is made on the key card, you automatically control your
pack of 23 marked cards and the key card in the last position of the deck.
In addition, the first card marked on the deck will always be the
spectator's card. Now all you have to do is spread out the deck on the
table and find the name of the spectator's card. So, you can, firstly, reveal
the name of the card that the spectator is thinking about (first phase of
« telepathy »), then secondly, find this card without having ever seen the
face of the cards. This way, you will know instantly by spreading your
deck on the table that the card chosen by the spectator is the first marked
card of the deck. Using a blindfold increases the impossibility of the
routine for the spectator. For the anecdote, I fooled many magician
friends with this routine.

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SECOND VARIATION
THE EFFECT:

The magician shows a deck of cards, turns his back on the audience and
asks the spectator to take a small pack of cards from the top of the deck.
The spectator shuffles the cards and when he wants to look at the top
card. Then, the spectator takes a bigger pack of cards from the deck and
covers his card. The magician asks him to cut the deck as many times as
he wants in order to mix the deck and lose his card among the others.
The rest of the deck, still on the table is placed on the cards. The magician
turns around and explains that the spectator has just created an invisible
link with his card and that only he can find it. He explains then that the
deck is composed of 4 families (Spade, Heart, Clubs and Diamond) of
13 cards each and that of course the spectator's card is part of one of
these families.

The spectator is then invited to deal the deck in 13 piles. The magician
then turns his back and asks the spectator to swap the places of the
different packs in order to mix the cards again. The magician turns
around and explains that he will find the chosen card by using the
invisible link that has been created. He then takes the spectator's pulse
and passes over the packs. The magician eliminates the piles one by one,
until there is only one more. The 4 cards of the deck are placed on the
table and the magician asks the spectator to shuffle the cards again. The
magician repeats the experience with the spectator's pulse until there is
only one card left. This last one is returned, it corresponds perfectly to

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 DARK CONNECTION 2.0 – THOMAS RIBOULET

the choice. Finally, the magician turns over and spreads out the other
cards to show a blank deck except for the cards of the same family as the
one chosen by the spectator, arranged in order (fig. 14).

FIG 14

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EXPLANATION

For this variant of DARK CONNECTION, you will need 13 cards from
the same family (for example the family of diamonds, from ace to king),
which will be marked so that their names can be read on their backs. You
will need 39 blank cards. One of the blank cards will be a « REVERSE
BREATHER CRIMPED CARD ». The 13 cards of the same family are
marked (these cards do not necessarily need to be in order), the key card,
the remaining 38 blank cards (fig 15).

FIG 15

The operating mode is exactly the same as for the basic routine of DARK
CONNECTION. Place the deck on the table and ask the spectator if they
want to perform an experiment. Explain to him/her that there are
countless invisible links and that you wish to demonstrate their
existence. Ask the spectator to pick up a small pack, about ten cards. It
is very important that the spectator does not take more than 13 cards at
the risk of having blank cards in his hand. Insist on the number of cards:
« Take a small pack of cards, not many, less than ten for example ». That
way you're sure he'll have the diamonds cards in his hands. Then ask

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 DARK CONNECTION 2.0 – THOMAS RIBOULET

them to shuffle the deck and stop whenever he want. He will then look
at the first card of this pack. Now ask him to take a bigger pack of cards.
Since in this variant, the key card is the 14th card of the game, he will
necessarily take it in his big deck of cards. From this point, the trick
becomes automatic. You ask your spectator to cut the deck and complete
the cut, as many times as he wish.

Now turn around, take the spectator's cards and cut the deck to the key
card. The deck ending with the key card is placed first on the table,
followed by the rest of the cut and finally the rest of the cards (fig. 16-
17-18-19).

FIG 16 FIG 17

FIG 18 FIG 19

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 DARK CONNECTION 2.0 – THOMAS RIBOULET

In this situation your deck is composed as follows, from bottom to top:

the key card, the 13 diamonds cards ending with the chosen card and the
rest of the blank cards (fig 20).

FIG 20

Explain then that the deck is composed of 4 families (Spades, Hearts,

Clubs, Diamonds) of 13 cards each and, of course the spectator's card is
part of one of these families. It is important at this point to justify the
number of 13 piles of cards that will be dealt. You can also direct your
speech on the number 13 which for some bad luck (Friday 13th) and for
other luck. Ask the spectator to hand out 13 piles of cards. Normally each
pile will consist of 4 cards. (4 x 13 = 52 cards). For explanation, number
the piles from 1 to 13. The spectator hands out a card for each pile.
They're just blank cards.

1 2 3 4 5 6 7

8 9 10 11 12 13

CARTES BLANCHES

CARTES CHOISIE
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CARTES MARQUÉES
 DARK CONNECTION 2.0 – THOMAS RIBOULET

The spectator deals one more card per pile. They will always be blank
cards. Each pile now consists of 2 cards.

11 22 33 44 55 66 77

88 99 10
10 11
11 12
12 13
13

The spectator deals one more card per pile. These will always be blank
CARTES BLANCHES
cards for the first 12 piles, and the 13th card will be the card chosen by
CARTES CHOISIE PAR LE SPECTATEUR
the spectator. Then take the information on the identity of the card with
CARTES MARQUÉES
the marking. In our example we will take the 8 of diamond (green card
on the figure).

11 22 33 44 55 66 77
1 2 3 4 5 6 7

88 99 10
1010 11
1111 12
1212 13
1313
8 9

The spectator finishes the pile by

CARTES handing out the last cards that will be
BLANCHES

all the family's branded CARTES

cards atCHOISIE
diamond. The
PAR LE 13th card will be the key
SPECTATEUR
card that covers the cardCARTES
chosenMARQUÉES
by the spectator. In other words, the only
deck that doesn’t begin with a marked card will be the one containing
the card chosen by the spectator (fig 21)

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 DARK CONNECTION 2.0 – THOMAS RIBOULET

Now all you have to do is turn around and find the package containing
the selected card (that doesn’t start with a marked card). Grab the
spectator's wrist while pretending to look for his pulse and pass over the
various piles. Remove the piles one by one, taking them in order (from
the ACE to the KING), and leaving only the packet of the spectator card
(no. 13). This way you have just assembled your sorted package in order,
except for the selected card that is missing from the set.

FIG 21

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 DARK CONNECTION 2.0 – THOMAS RIBOULET

Take the last piles, spread the remaining 4 cards on the table and ask the
spectator to mix the 4 cards while your back is turned (fig 22). Now
locate the selected card by marking and repeat the experience with the
spectator's pulse. Then remove the cards one by one until only the
selected card is left. Ask the spectator to state the name of his or her card
for the first time, then return the last one still on the carpet. That's the 8
of diamond.

FIG 22

To conclude this routine, turn the deck around and let the spectator
discover that the deck was in fact entirely white except for the family of
his selection. The family is sorted in order, and the only missing card of
the series is that of the spectator.

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 DARK CONNECTION 2.0 – THOMAS RIBOULET

BRAINSTORMING
During the last phase, when there are only 4 cards left on the carpet, I
make the trick in a slightly different way, which reinforces the effect
even more.

Continue playing with the spectator's pulse and remove 2 of the

remaining 4 cards. You only have 2 cards left on the carpet: a white one
and the one chosen by the spectator, marked on the back. Ask them to
take one card and give you the other. There are two possible cases :

• The spectator chooses his/her card and gives you the blank card:
Place the card he/she has just given you back on the rest of the
deck and ask the spectator to place the card face up against
him/her. Then ask them to say out loud the name of their
selection and find out what card they are holding in their hands.
• The spectator chooses the blank card and gives you the chosen
card: then ask the spectator to rest the card he has just taken on
the rest of the game. Ask him/her to state the name of his/her
selection out loud and show him/her the last remaining card.

This simple elimination method allows the spectator to believe that

he/she has chosen the card he/she wants. Any other technique works, as
long as the spectator finishes with the right card. This last variant
reinforces the impossibility of the spectator's choice. Of course, if the
spectator chooses his card directly, you are in a good position to finish
the effect. But if not, the effect will be equally powerful.

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 DARK CONNECTION 2.0 – THOMAS RIBOULET

The final phase of this effect was inspired by John BANNON's card
routine « TRIOMPH ». The end of this routine allows an exceptional
visual and above all increases the impression of a miracle in the viewer's
mind.

Discover the routines in video by flashing the following QR code or

directly entering this Google mini-url in your browser (you can also click
on it)

ORIGINAL ROUTINE VARIATION ROUTINE

https://goo.gl/6cvX2y https://goo.gl/jD4az5

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 DARK CONNECTION 2.0 – THOMAS RIBOULET

LAST WORDS
I hope you enjoyed my work on this card localization trick. Now imagine
how many possibilities there are for you. I have shared with you two of
my routines that I particularly appreciate. Obviously, this list is not
exhaustive as evidenced by the research.

Dark Connection does not require a lot of technical and handling work.
It is therefore important to work on your presentation. Thanks to Jean-
Jacques MEYER for his advice and researches.

I will conclude with a quote from Paul VIRILIO:

« The world is an illusion. Art is to present illusion to the world. »

Thank you again for your support.

Thomas RIBOULET

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 DARK CONNECTION 2.0 – THOMAS RIBOULET

CREDITS
Alan, J. (2012). Seventeen Secrets. The Sid Lorraine Hat & Rabbit
Club, "Breather Crimp" page 49.

Bannon, J. (2004). Dear Mr. Fantasy. Selfpublished.

Bannon, J. (1990). Impossibilia. L&L Publishing.

King, B. (1990). More Magician Foolers, A Further Collection of

Magic Designed to Fool Magicians as well as Laymen. Bob King
Magic, "The Breather Crimp" page 20.

King, B. (1993). The Breather 2 The Ultimate Crimp - Further

Routines and Applications. Bob King Magic.

King, B. (2002). The Breather 3 The Ultimate Crimp - Final Routines

and Applications. Bob King Magic.

King, B. (1992). The Breather The Ultimate Crimp - Routines and

Applications. Bob King Magic.

Lorayne, H. (2001). Apocalypse Volume 11 à15. L&L Publishing,

"breather crimp" page 1571.

Lorayne, H. (2007). Best of Friends - Volume III. Harry Lorayne, Inc,

"Breather Control by Bob King" page 93 & "Long-Sides Up Bend by
Harry Lorayne" page 95.

Lorayne, H. (1962). Close-up Card Magic. Louis Tannen, "Christ

Force" page 98.

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 DARK CONNECTION 2.0 – THOMAS RIBOULET

Lorayne, H., & Slaight, A. (2002). Apocalypse Vol. 16-20 January

1993 - December 1997. L&L Publishing, "Heavy Breather" page 2487.

Minch, S. (1974). The Book of Thoth. Micky Hades International.

Minch, S. (1987). The Vernon Chronicles - Volume 1 - The Lost Inner

Secrets. L&L Publishing, "The Breather Crimp" page 96.

Trost, N. (2008). Subtle Card Creations - Volume 1. H&R Magic

Books, "Breather Crimp" page 253.

Trost, N. (1997). The Card Magic of Nick Trost. L&L Publishing,

"Breather Crimp by Dai Vernon" page 308.

Wilson, T. (2010). Reinventing the Real. Cherry Villain, "Breather

Crimp" page 80.

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