Daniel Madison - One.pdf

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one
T
W
I S
T E
D
R
A
[ electronic PDF version ]
by
Deception, Subterfuge
&
a deck of cards
I N
P
R
O
D
U C
Daniel Madison
T
I
O
N
S
CONTENTS
PAGE
TWO
PAGE
THREE
PAGE
EIGHT
PAGE
TEN
PAGE
THIRTEEN
PAGE
FIFTEEN
PAGE
SEVENTEEN
PAGE
EIGHTEEN
PAGE
TWENTY TWO
PAGE
TWENTY FOUR
PAGE
TWENTY SIX
PAGE
TWENTY EIGHT
PAGE
THIRTY
PAGE
THIRTY ONE
forward
fundamentals | cameo | 
the
turnover pass
lapse | 
the
emotion force
monte sonata
absent minds | selective | 
the
raining force
heritage
complete
one eighty | 
the
one eighty placement
father figure
fatal | 
the
silent switch
dividend | scripture
under
the
influence
on
the
cuff
credits & acknowledgements
Twice the moon over the fall of the world
We sit here in peace, in the middle of hell
Smiling down to all the innocent victims who await their inescapable fate
Heaven, exist only within us
FORWARD
Welcome, & thank you with my uppermost appreciation for your discovery of my work. The majority of effects I used to
complete these notes were at the turnover of a ‘rediscovery’ of my art, & through my progression I hope to share this
part of my journey with you.
There are key methods that unlock a performers’ repertoire, methods that carry a performer from the beginning to
the end of a performance, or even to the end of a career. I’ve been lucky to have spent irreplaceable moments with
artists who have succeeded their careers at the hand of a double lift, openly stating that without this sleight, they
would have very few ‘tricks’ up their sleeves. It’s so easy to get trapped into a corner with these miracle serving
simplicities, & very few of us explore & exercise our skills to the best of our potential. To this end, I have spent a few
very rewarding years exercising some wonderful techniques that have helped my succession as a performing artist, &
before I embark upon a journey into darker areas of magic, I would love to share moments of my present work with you
through these pages.
On a personal level, this work pays great tribute to The Gamblers Cop, which has over the years become a powerful
vehicle for my work. The Gamblers Cop plays a great role through the following work you are about to read. My
gratitude goes out to the marvellous Larry Jennings for introducing me to this sleight & to all the other showmen who
have mastered it so well [inc. Bob Kohlar, Daryl, Allan Ackerman, Paul LePaul & Mr Blaine - to name only a few.] I
hope that you too will find a way to exercise this sleight if you already haven’t.
Throughout this work I have attached testimonials from both fellow showmen & card-carrying members of the general
public for whom I most enjoy performing for. I have placed these testimonials, not on the back cover as tools to
condition you into buying my work, but with the effects that inspired these reactions. Although they do not bar the
identity of the persons who spoke them, I ensure you that they are all true & printed word-for-word.
The spoken dialogue throughout this work is not to be taken too seriously & only to be used as a guideline as to how
the performance of the effect plays out, I have written this way in hope that you approach the effects in your own
unique & original way. I would love to hear your own performance ideas for the effects & hope that you can find a way
to make them suit your performances as best they can.
There are a few sections of this work that call for the assistance of ‘gaffed cards,’ which are… two double-faced
cards [which have a different pair on either side] & a small envelope. As this PDF version of ‘ONE’ has been created to
send electronically thus avoiding the complicities of the postal service, these gaffs are not included with your purchase
yet should be easily attainable for all magicians. This flaw was taken into consideration upon conversion, therefore the
price of this purchase has been lowered.
Although most of you may find this work easy to follow, I do have to warn that One has been written at an advanced
level of magic & sleight of hand that some amateur magicians may find a little difficult. I trust that you, the reader,
are of the allied arts, for if you are not, most of this work may appear slightly jibberish. As this work is aimed for
magicians, I have used sleight of hand & magic terms to describe some of the techniques & general effects used &
intentionally chosen not to describe how the more basic sleights work; if I have accurately targeted my desired
readers then you will already know all of the techniques in question. If you are what we call in the industry a
Layperson
, I assure you that there is nothing of interest to you that you will understand beyond this page; this is not
intended as work for beginners. If you are a Layperson, please do not take this as an offensive term, it just means
that we as magicians are above you & you are just a general statistic.
Due to my ignorance & love/hate relationship with magic & its gorgeous affiliates, although researched to death, as far
as I am aware, these notes & their contents are original unless otherwise stated, however, I do not claim to have
invented or be the first to discover the methods, routines, final effects, or performances. I would be more than happy
to amend & apologise for any suspicious likenesses to any other performers work. Shit – as they so truthfully preach
– happens.
Use this work how you will, if you feel the need to share your thoughts, I’ll look forward to hearing from you.
Best
D Madison
PS. The use of foul language is used four times in this document for which I have no intentions of apologising for.
Thank you.
FUNDAMENTALS
Each & every effect between the covers of this work requires the use of a deck of playing cards. In a somewhat novel
fashion, ‘One’ begins with the
fundamentals
of my ideas, building up to greater & more difficult feats of magic
climaxing in coherence at the end. As fundamental as card-tricks may be I wanted to begin by using a few impromptu
pieces that represent sleight-of-hand explanations. Each effect beyond ‘Fundamentals’ will focus on effects that
stand for much more believable & plausible explanations other than ‘magic tricks.’
cameo
A Sandwich Routine made up of three fresh sandwich effects
Named after those charming actors who spend their free time creatively popping up unacknowledged in more movies
than they care to remember. This routine pays homage to those classic ‘Sandwich’ effects that do the same; we’re
all guilty of abusing from time to time.
“Just when I was about to applaud you, you reeled me back in &
suckered me again.”
cameo
- Effect description
one
Cameo kicks off with the spectators’ selection of card which is signed, & then another two cards are selected, which
are revealed to be the red Queens. The Queens are placed at separate parts of the deck slightly protruding, one
toward the bottom, & the other toward the top of the deck. The selected card is then taken & placed in the middle of
the deck face up. The Queens are then flushed into the deck leaving the selected card protruding; the spectator is
invited to pinch hold of their card. The performer then explains that sleight of hand always happens when you least
expect it, & in this case it has already happened - the deck is spread & the two cards sandwiching the selected card
are revealed to be the red Queens…
two
…As the performer holds the selected card between the Queens, the spectator cuts the deck. The spectator then
takes the selected card & places it into the cut. The spectator keeps a hold of the cards. The performer then
proceeds to wave the Queens slightly above the deck where a card appears between them… The signed card…
three
…The selected card is shuffled back into the deck. The Queens are then taken & mixed face-up into the deck. The
deck is then spread face up to show that the facedown Queens have sandwiched the signed card. The Queens are
removed & the selected card is once again mixed into the deck. The performer states that their card will appear
between the Queens… The spectator is then asked to check between the Queens on the surface for their card -
which is not there. The Queens are then revealed to be black 2’s & the selected card is found between the Queens, in
the performer’s pocket.
cameo
- The Setup
The only setup required for this routine is that the two red Queens are retained at the top of the deck, two other
mates are also retained at the bottom of the deck, for this explanation the black Duce’s are used.
cameo
- Explanations
one explained
A card is freely selected & signed; for this explanation the 4 of Clubs is used as the selected card.
For this effect I need two matching cards, a pair of Queens or something…
Dribbling the deck from one hand to the other, ask the spectator to call stop, place the stopped
at card on top of the deck covering the pre-arranged red Queens - do not reveal the card - do this
again so that the Queens are covered with two rag cards. Here you need to lift the top three
cards without turning them over - they need to pose as only two cards. Use the thumb of the
deck hand to slip the top card of the three cards back to the top of the deck leaving a double in
hand. This will appear to be the first stopped at card – be careful not to expose the hidden rag
card.
Figure 01a 
Figure 01b 
Okay, lets see what we have…
[reveal the 1
st
Queen.]
Perfect, so we have a Queen…
This double is placed on the deck held in Charlier cut position in preparation for the turnover-pass
as in Figure 01a.
I’m going to put this card in the bottom half of the deck, & I’m going to leave it protruding
slightly…
Figure 02 
The Turnover-Pass
The double is pinched on the corner closest to you with your forefinger & middle finger on top, &
your thumb underneath [a little like a snap change position on the wrong corner.] Turning your
hand clockwise, both cards are turned face down to the side of the deck as if they are about to be
folded under the deck – which is almost what is about to happen. As you fold the cards face down
the middle finger from the deck hand [right hand in Figure 01b] pulls the Queen under the deck as
the rag card is left in hand face down. Figure 01b shows a freeze frame of the actual move. The
rag card shades the Queen as it is hidden by the deck. Once the Queen has been stolen, place the
rag card in the bottom half of the deck as in Figure 02. Done correctly & with fluidity this move
passes unsuspected. [Alternative suggestions for positioning the Queen at the bottom of the deck
are noted at the end of the explanation in the afterthoughts section.]
Figure 03 
Let’s see if you managed to land another Queen…
Double-lift to show the second Queen, turn the double back over & place the rag card in the top
half of the deck; also left protruding as in Figure 03.
Figure 04 
I’m going to place this Queen in the top half of the deck, & again I’ll leave it protruding.
Spread the deck & break it half way [Figure 04,] take the bottom half to the top so that the
hidden Queens are next to each other [Figure 05.] The selected card is now placed protruding
face up between the Queens. Figure 6a shows the current situation – Figure 6b shows an
exposed view from the bottom of how the deck should look. Push the rag cards into the deck
leaving the selected card protruding. The selected card should now be sandwiched between the
Queens.
Figure 05 
The most astounding thing about sleight-of-hand is that it happens right in front of everybody, yet
only the performer knows that it’s taken place. In this case, it already happened…
Spread the deck sliding the selected card & the cards either side of it away from the deck. When
you put the deck back together, make sure to place the bottom half back to the top; this retains
the black Duce’s at the bottom of the deck. The three cards are then taken & the sandwich
cards are revealed to be the red Queens. 
Figure 06a 
Figure 06b
two explained
Take the Queens - with the selected card still between - & drop them to the top of the deck -
Queens face-up. Spread the cards a little maintaining a break under the top four cards, square
these cards up & lift them from the deck leaving the deck on the surface. Figure 07 shows an
exposed view of the present situation with the Ace of Spades as the rag card. Keeping the
bottom rag card hidden behind the bottom Queen, spread the cards taking the top Queen & the
signed card in your open hand, gesturing toward the deck as you indirectly flash their card to
confirm that it is their card & no switches have taken place.
Figure 07 
So this time we’ll make it a little harder for me, as a sleight of hand expert I’m always looking for
new & more convincing was to make you think that what I’m doing is actual magic. This time, the
Queens won’t even touch the deck... Do this for me, lift the deck up, about half way…
 
◊ As
the spectator does so, bring back the Queen & the signed card above the other Queen & rag
card, as you do this, apparently squaring up the cards, pass the bottom two cards to the top so
that the upper Queen & the selected card are now the lower two cards. Figure 08 shows the
pass in action. Figure 09 is an exposed view of how the cards should now look. The selected card
is now hidden at the bottom of the four-card packet. Spread the cards again keeping the signed
card hidden below the lower Queen. Nobody will notice that the Queens have changed place. This
is a very minor & easily dismissed discrepancy.
Figure 08 
We’re going to lose the signed card in the middle of the deck, & make sure I don’t touch the deck
again…
Remove the rag card posing as the selected card - careful not to expose it - & drop it into the
open gap in the deck [Figure 10.] As the deck is closed, position the upper Queen beneath the
lower Queen & signed card. The selected card is now held & hidden behind the upper Queen in
preparation for the sandwich revelation. The two Queens are sharply waved above the deck;
slightly spreading the fingers on the grip will force the cards apart revealing the selected card
between them [Figure 11.]
This a sandwich load credited to Ed Marlo.
Instead of revealing the signed card, place the three cards on the surface, inviting the spectator
to turn over the sandwiched card, as they do, take the deck & prepare for the third part of the
effect by turning the bottom two cards [Black 2s] face up. Figure 12 shows this situation
exposed. This can be done with sheer blatancy as all attention is on the revelation of the
sandwiched card. 
Figure 09 
Figure 10 
Figure 11 
Figure 12

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