Curtis,

I have to disagree with you. While there are some minor differences as David stated, the handling is Leipzig's. And is great starting point to learning the routine and working out your own handling.

Mo--I'm not so sure the Leipzig handling, as described, is such a good starting point. In particular, the following passage is the culprit, and where I think the Ben and Hunter handlings have the advantage:

"We now come to a particularly subtle switch which is one of the high points of Leipzig's genius. The switch of the two balls can be made without a detection under the closest scrutiny, as a trial will prove."

What follows is Ganson's description of a miraculous move which, he assures us, will allow you to exchange one ball for another under the watchful and steady gaze of the audience. This is what intrigued me about this handling, especially coupled with Ganson's assurance that it appeared to the audience that the ball never leaves the spectatot's sight. Note that in this description, (from the "Tribute to Leipzig" book) this invisible switch occurs only after the torn pieces have been formed into a ball. That's not what's going on in the clip we're discussing. The changes are of timing and framing, and while one might modestly call these changes "minor", IMHO they make a big difference.

I should add that the approach Mr. Ben takes in this clip is by no means unique to him, but it does look very good in his hands.

I second Martin Lewis routine called Undivided.

Doesn't Eugene Burger teach a version in Mastering The Art of MAgic?

Al Koran provides a detailed method in his book 'Professional Presentations' (written by Hugh Miller). Al's presentation also goes into how the duplicate paper should be pleated to ensure that it opens out easily upon restoration. It's little nuances, such as this important point, that show how a true pro thinks.

Koran used to often commence his cabaret performances with this very trick - it ISN'T (as many would think) just for close-up. Upon restoration, he'd gently blow the paper up into the air; and as it fluttered down, so came the applause.

I saw the great David Ben performed that same routine on stage in Torontoin a theater
Wow! the audiance loved it --so did I.
Ricky

I have been practicing few different routines now for a year but I havent performed once because I kinda feel that it suffers in too perfect theory in a sense that the one explanation that most people must think after experiencing it is the right one. In other words... How else?!? Anyone with real performing experience who could comment on this?

Juha-Matti

Here is my favorite version performed in real time for a real spectator with a real reaction.

https://youtu.be/ZGgjjhdzWz0?t=1m48s

I have to say it gets rid of all the hard work and evidence and plays well!