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��I R R E V E R S I B L E A killer close-up effect for the PSYCHOLOGICAL ILLUSIONIST // MODERM MAGICIAN // MENTALIST // CARDSHARK THE CARD-TRICK TO END ALL CARD-TRICKS // FORCE ANY CARD ON ANY SPECTATOR WITHOUT EVER TOUCHING THE DECK by D A N I E L M A D I S O N There are no words that will justify how powerful this piece of magic is Ash Singleton (Author of The Broken Magician) You may have discovered the card-trick to end all card-tricks D Stone MAGIC My head is going to explode unless you tell me how you did that Fran�oise Belle Manhattan Magic Mania Once again, Daniel has broken the rules and proven that there are no limits in real magic Bob Martindale MBE E Group This is a reputation-making effect and by far your greatest offering to date Trick Lewis - Magician Absolutely mind-boggling, you had no control over the deck so it can t be trickery& This is something else V Raven Clairvoyant This is the goalposts for which all other magic tricks will be judged Xander De ath 13th Sign Productions There are magic tricks, then there are magic tricks, then there s Irreversible; a planet unto it s self Randall Freeman dap Daniel has reached the end of discovery in his art& Magic doesn t get better than this, simply because it can t Prof. Christopher French PAGE 01 INTRODUCTION PAGE 02 OVERVIEW PAGE 03 IN PERFORMANCE // 01 // THE PRINCIPAL PAGE 05 02 PAGE 06 03 PAGE 07 04 PAGE 08 05 PAGE 09 06 PAGE 10 NOTES + AFTERTHOUGHTS + CREDITS IRREVERSIBLE // by DANIEL MADISON Welcome, and thank you much for discovering this document As I only claim to have discovered this on my own terms and not invented the principal I do not fear highlighting the word genius and hitting Ctrl+Shift+I. This will blow you away, and if it doesn t then don t email me, I d rather self indulge in the thought that you have surely been blown. Away. I m quite sure that this effect has already been discovered and also performed many a time by the extremely secretive of showmen who wish to keep their genius discoveries to themselves. Statistically (that is to say according to statistics) 98% of you will be within a very close proximity of what we all refer to as an Invisible Deck. Now, I very rarely perform my own variation of the Invisible deck routine these days due to the decks infamous reputation built from such Blaine wannabees. In it s day, it was the only effect that hit 100% on the confidence scale in terms of completely boggling anybodies mind& and all with very close to no sleight of hand. My most memorable performances of the Invisible deck follow: 1 // The first. A realisation that I had discovered an effect that would make people believe I was in fact the son of God& or his ach nemesis. 2 // The last (at a paid event): Having built the effect up as a highly psychological technique, the sawn-off Napoleon look-a-like with the Woody Allen eyes and creased woollen-suit stood quite literally erect to my left who had purposely held silent until the moment of prestige uttered& That s a trick deck. It s called an invisible deck, half of the deck is face-down hidden behind all the other cards. You ll probably try switch the deck now with the normal deck in your left suit jacket. Cock. My night as a master-psych-illusionist had been thrashed by a trick deck exposed by an overgrown lump of excelled bacteria. After that, it had occurred to me that the invisible deck had become so popular that it had grown beyond the magic industry and is more than likely the most performed effect ever and therefore seen by more or less everybody who has had the pleasure of sharing a collection of seconds with a man of the wand. Years later I discovered the Irreversible principal and regained that initial feeling experienced when I had discovered the invisible deck. As I no longer perform at paid/hired events I feel no need to keep this effect for myself. Much to my surprise, and in a form not too dislike that of a coincidence, it occurred to me that Irreversible was just an invisible deck, only realigned, refined and put together in a way that allows the spectator to not only inspect the deck, but to achieve an equally impressive and similar effect all in their own hands& Real magic! Irreversible uses the same initial principal as the invisible deck therefore by owning an invisible deck you not only have the genius of it, but also the opportunity to realign the deck to create an entirely new and equally rewarding one& Irreversible. Two decks in one. At events, I was always ready to switch my new toy back into Invisible deck mode, but never did. The impact of the effect was so astonishing that the deck was irreversible. Read on. (At this point, please note that should you choose to skim this document for the method and reject all the performance suggestions, you must read the IRREVERSABLE // ONE performance literature to fully understand the principal, from that point forward you ll be able to figure the rest out for yourself.) IRREVERSIBLE // ONE 1 // A deck of cards is introduced 2 // The performer writes down a prediction which he asks the spectator to keep hold of 3 // The spectator is given the deck and asked to take a card out and replace it back in the deck upside-down all with the deck held behind their back 4 // The cards are then brought back around and the spectator is asked to search through for the reversed (face-down) card 5 // Before revealing the card, the prediction is opened and shown. The face-down card is then turned over revealing a match of the performers prediction IRREVERSIBLE // TWO 1 // A deck of cards is introduced 2 // The performer asks spectator one to pick a card and not show anybody, he is handed a pen and paper and asked to write down the card. The paper is folded and handed to spectator two, who keeps it in their pocket (or anywhere where nobody can see or get to it.) 3 // The deck is then passed to spectator two who is asked to take a card out and replace it back in the deck upside-down all with the deck held behind his back 4 // The cards are then brought back around and the spectator is asked search through for the reversed (face-down) card 5 // Before revealing the card, the first spectators card is revealed by opening the paper it was written down on. The face-down card is then turned over revealing a match of the first spectators freely selected card IRREVERSIBLE // THREE 1 // Two decks of cards are introduced 2 // A deck is selected by the spectator and the effect begins 3 // The spectator is instructed to do as the performer does 4 // The performer takes the deck under the table and begins to shuffle the cards, as does the spectator 5 // The performer then states that he is selecting a random card and turning it face-down in the deck and that the spectator should do also 6 // Both decks are shuffled once more 7 // The decks are brought back to the table and both spread to show all face up cards bar the one turned face down in each deck by both the performer and spectator 8 // The cards are revealed to be an exact match IRREVERSIBLE // FOUR 1 // A deck of cards is introduced and inspected by the spectator 2 // The performer asks the spectator to pick a card, remember it and return it to the deck. 3 // The deck is then passed to the spectator who is asked to take a card out and replace it back in the deck upside-down all with the deck held behind his back 4 // The cards are then brought back around and the spectator is asked search through for the reversed (face-down) card 5 // Before revealing the card, the spectators is asked to name the card they initially picked. The face-down card is then turned over revealing the same card picked at the start IRREVERSIBLE // FIVE 1 // A deck of cards is introduced and inspected by the spectator 2 // The spectator is given the deck and asked to take a card out and replace it back in the deck upside-down all with the deck held behind their back 3 // The performer looks into the eyes of the spectator and names a playing card 4 // The cards are then brought back around and the spectator is asked search through for the reversed (face-down) card 5 // The face-down card is then turned over revealing the card just named by the performer IRREVERSIBLE // SIX 1 // A deck of cards is introduced and inspected by the spectator 2 // The spectator is given the deck and asked to hold the deck behind their back 3 // The performer asks the spectator to name any playing card 4 // The performer then asks the spectator to take a card out and replace it back in the deck upside-down all with the deck still held behind their back 5 // The cards are then brought back around and the spectator is asked search through for the reversed (face-down) card 6 // The face-down card is turned over revealing the card just named by the spectator IRREVERSIBLE // MAKING THE DECK Take a regular invisible deck (which by it s very nature is irregular but you know what I mean) and deconstruct it as if it s a regular (normal un-gaffed) deck& i.e All cards facing the same way. Now introduce a regular card from a regular deck of the same size and design (un-roughed of course) & you now have IRREVERSIBLE. The regular (un-gaffed) card is your force card; you can appreciate at this point that you have the option to force whichever card you chose. (It might be a good idea to remove the roughed duplicate of the force card that is already in the deck, but that s not entirely necessary; something you ll learn the more you ll perform the effect.) I will explain how to utilise the force card throughout the performance explanations. The setup for IRREVERSIBLE // ONE will explain the setup and basic performance for the force, effect and principal. Should you not have an invisible deck or wish to purchase one to qualify this effect, you can simply apply your own roughing spray/fluid to an existing or new deck (to the backs of every card.) In the long run this would be cheaper as a single can of roughing spray can make up about 20 irreversible decks. IRREVERSIBLE // IN PERFORMANCE As in most cases when it comes to psychological-illusions the ultimate effect is the hardest to achieve. IRREVERSIBLE // SIX is the foundation of Irreversible and is the ultimate effect. Each of the following effects are designed to tailor a different performance type, and for those psych-illusionist who don t feel comfortable with the ultimate IRREVERSIBLE // SIX, at least one of predecessors will suffice. IRREVERSIBLE // ONE // THE SETUP Providing you ve followed the above and made the deck... Place the force card (un-roughed/stranger card) face-up and 2nd card down in the face-down deck. For this variation you ll need a marker / pen and a pad of paper (or at least something to write on and with.) 1 // A deck of cards is introduced Remove the cards from the box face-down, showing a normal back. Turn the deck face-up and spread the cards to show a normal deck. Try to retain the lower 3 or 4 cards so that the reversed card is hidden in the spread. You can also do the same to show the backs of the cards as long as you keep the top 2 or 3 cards together (again hiding the force card.) You don t need to worry about any suspicions toward an unruly deck, as any such thoughts will be diminished once you hand the deck over to the spectator. 2 // The performer writes down a prediction which he asks the spectator to keep hold of Before you write down the prediction, take a long and sharp look into the spectators eyes as if looking for a prediction based on the result of your analysis of them. I would also advise that for a much grander impact should there be other spectators rightly spectating, show them the prediction before you fold it and hand it over. This would add a sincere level of excitement for those watching. It s often a good idea to ask the spectator to put the prediction somewhere where nobody can get to it, there ll always be the thought that - if it s within the magicians proximity, there s a greater chance it will be manipulated. 3 // The spectator is given the deck and asked to take a card out and replace it back in the deck upside-down all with the deck held behind their back Before giving the deck to the spectator, cut about 15 to 20 cards from the bottom to the top, burying the force card into the deck. It s a note to cut lesser cards from the bottom to the top as you will soon suggest that the spectator should turn over a card from somewhere in the middle. In most instances the spectator will go further than the middle to offer more of a challenge therefore when you search for the card you will discover the force card before worrying about flashing the actual hidden card. I ve had some spectators who are completely incapable of managing a deck behind their back as it requires a few more living brain cells to coordinate, for such cuties you can ask them to hold the deck under a table or have another spectator hold something over the deck such as a newspaper. As long as they (or anybody for that matter) can t see the turn of the card, you re good to go. 4 // The cards are then brought back around and the spectator is asked to search through to find the reversed (face-down) card It s quite important that the cards be face up when they are brought back into view; if they aren t just tell the spec to turn them face up. Tricky. Here s when the principal of the deck comes into play& IRREVERSIBLE // THE PRINCIPAL As all of the backs of the cards are roughed, the card that the spectator turns over will stick to the back of one of the other cards, therefore, when the deck is searched through (face-up) the card turned over will not be seen (due to being stuck behind another card.) The force card, which is not roughed, will not stick to any of the rough cards and will therefore be seen and appear to be the spectators turned over card& Alas: the IRREVERSABLE force. If you don t really trust your spectators thumbing clumpy hands and think that they may separate the hidden/stuck card in the search, you can simply take the deck and spread it across the surface, or just scan through until the face down card is found. I usually just say spread the cards and like human sheep they try to spread them somehow between their hands without just sliding them from hand to hand. Once the force card is reached the spectator will (obviously) stop searching. 5 // Before revealing the card, the prediction is opened and shown. The face-down card is then turned over revealing a match of the performers prediction Once complete, take the deck and hold it face-down, riffle up the back end of the cards and you ll see the actual turned over and hidden playing card, lift this card and all cards above it and turn the packet below it face up. Drop the packet you lifted on top and then turn all off the face-down card face up. This is a fairly nonce way of getting the card turned back without anybody seeing and is only suggested for those who are unable to commit such a sleight. Pants. Otherwise, just return the deck to the box, the next time you do the trick, show the reversed card and explain that this is the card the last person picked, that way you can continue using the same force card without suspicion and with the suggestion that it can be done with any card (which it can, but the suggestion is good on its own.) I m sure there ll be a question hanging regarding the chance of turning over the force card& This has happened to me only once in about 100 performances, and it was a damn good reaction as the spectator swore blind that they had turned a card over. This seemed to be the effect to them and they were all quite pleased with the experience. I took the deck to double check they hadn t just bypassed it, as I did so I repositioned the force and handed back the deck. You should note that having the deck fully inspected before you begin will add so much to the performance. After the spectators inspection you can manipulate the force card into position as you explain what you are about to attempt with the cards. If like me you are obsessed with the Gamblers Cop, you can simply retain the force card whilst the spectator shuffles, then take the deck back instantly repositioning the force card as you do so. Now that you have the principal idea, the rest of the effects should seem obvious, but I will explain nonetheless& IRREVERSIBLE // TWO // THE SETUP You will need two spectators for this effect Place the force card in your most favourite forcing position (face-down as the rest of the deck.) 1 // A deck of cards is introduced Shuffle the deck retaining the force card in forcing position. 2 // The performer asks spectator one to pick a card and not show anybody, he is handed a pen and paper and asked to write down the card. The paper is folded and handed to spectator two, who keeps it in their pocket (or anywhere where nobody can see or get to it.) When returned to the deck, you will need to control the card to the bottom of the deck, in this position and when the card is being written down, you are in a good position to turn the card face-up under shade of the deck. I m sure there are many fascinating sleights to cover this but just turn the card over under the deck is good enough as far as I m concerned, especially as nobody will be concerned with the deck at this point& However, for the flourish junkies, I will provide a suitable 3-way cut that will achieve this position for you in the afterthoughts section. Once done, cut about 30 cards from the top of the deck to the bottom burying the force card less than halfway down and hand over the cards. 3 // The deck is then passed to spectator two who is asked to take a card out and replace it back in the deck upside-down all with the deck held behind his back 4 // The cards are then brought back around and the spectator is asked search through for the reversed (face-down) card 5 // Before revealing the card, the first spectators card is revealed by opening the paper it was written down on. The face-down card is then turned over revealing a match of the first spectators freely selected card Re-correct the deck as described in the previous effect explanation and you re done. IRREVERSIBLE // THREE // THE SETUP Place the force card face-up on top of the face-down deck, Then place another card from the deck on top of that (face-down thus hiding the face-up card.) When you remove the deck from the box it will appear regular. You will also need another regular deck of cards with the same force card in a controllable position i.e. top/bottom. 1 // Two decks of cards are introduced 2 // A deck is selected by the spectator and the effect begins Although I state that the spectator selects the deck, it is actually just handed to them as if it s not a big deal who uses which deck. The implementation of chose either deck may suggest that one of which is somehow different from the other, otherwise they would have just been handed one in stead of being given the choice. 3 // The spectator is instructed to do as the performer does 4 // The performer takes the deck under the table and begins to shuffle the cards, as does the spectator Make sure you retain the top card, and be sure not to look at the cards; insist that the spectator does not look at the cards as he shuffles& You wouldn t want him to see the reversed card. 5 // The performer then states that he is selecting a random card and turning it face-down in the deck and that the spectator should do the same Obviously you need to turn over the controlled force card and place it in the middle of the deck. 6 // Both decks are shuffled once more I only offer this suggestion in case the spectator should have taken good notes as to the exact position of his reversed card. The shuffle offers a reposition of the card and no questions will arise wherever the face down card appears. 7 // The decks are brought back to the table and both spread to show all face up cards bar the one turned face down in each deck by both the performer and spectator 8 // The cards are revealed to be an exact match When the cards are brought back up you could swap decks to prevent any mishaps or further unwanted revelations on the spectators part, but this would only introduce the thought that you somehow manipulated their deck. IRREVERSIBLE // FOUR // THE SETUP This is the same as IRREVERSABLE // TWO only without the need for two spectators Place the force card in your most favourite forcing position 1 // A deck of cards is introduced and inspected by the spectator 2 // The performer asks the spectator to pick a card, remember it and return it to the deck. Force the force card on them and have it returned to the deck... you will need to control the card to the bottom of the deck, you now need to turn the card face-up under shade of the deck. Cut about 30 cards from the top of the deck to the bottom burying the force card less than halfway down and hand over the cards. 3 // The deck is then passed to the spectator who is asked to take a card out and replace it back in the deck upside-down all with the deck held behind his back 4 // The cards are then brought back around and the spectator is asked search through for the reversed (face-down) card 5 // Before revealing the card, the spectators is asked to name the card they initially picked. The face-down card is then turned over revealing the same card picked at the start IRREVERSIBLE // FIVE 1 // A deck of cards is introduced and inspected by the spectator 2 // The spectator is given the deck and asked to take a card out and replace it back in the deck upside-down all with the deck held behind their back 3 // The performer looks into the eyes of the spectator and names a playing card 4 // The cards are then brought back around and the spectator is asked search through for the reversed (face-down) card 5 // The face-down card is then turned over revealing the card just named by the performer In it s simplest form and by this point self-descriptive, this is by far the simplest and powerful performance of the effect for the mentalist, it s to the point, direct and pulls no punches. IRREVERSIBLE // SIX // THE SETUP Place the force card (un-roughed/stranger card) face-up and 2nd card down in the face-down deck. There is a backup for this effect should your force fail, this is explained at the end of the effect description. 1 // A deck of cards is introduced and inspected by the spectator 2 // The spectator is given the deck and asked to hold the deck behind their back 3 // The performer asks the spectator to name any playing card I highly recommend waiting until this point before introducing the psychological force. I did once do this before handing over the deck as I wanted to be more sure that the force had set in. It was argued later that I could have read their mind and then turned the card face-down with slights. 10H // I usually tend to take 10 minutes trying to get people to think of a number, like 2, 3 or 4, they can all be used as other words like I WANT 2, or FEEL 3 TO THINK OF ANY CARD, or, THINK OF A CARD, 4 EXAMPLE THE 6 of SPADES ETC. But now I can t help feeling that I m cheating, and it s not really fair making people wait so long just to see the trick& On that note, think of any number that you d see on a playing card, then think of the colour and finally the shape of the suit. I usually 10-nd to take 10 minutes trying to get people to think of a number& As I say this, I hold my hands open, palms toward the spectator with each finger stretched out as if displaying the number, this is a subtle gesture and not in anyway obvious. I do this each time I use the word TEN. As I have just repeated the word twice before introducing the procedure, asking them to think of number right after should trigger the most recent number in the sub/conscious: 10. This may sound too obvious to read, but as the command and explanation of procedure comes after the force, the spectator has not yet began to look for numbers (which he will now keep well away from should he hear your purposely obvious suggestions herewith& ) & Like 2, 3 or 4, they can all be used as other words like I WANT 2, or FEEL 3 TO THINK OF ANY CARD, or, THINK OF A CARD, 4 EXAMPLE THE 6 of SPADES ETC. Say these numbers as if you re not trying to suggest anything but simply explain, the spectator will think he is more cleverer than you by thinking these are in fact subtle suggestions& it s a double bluff that assures the spectator will stay away from these numbers. But now I can t help feeling that I m cheating, and it s not really fair making people w-8 so long just to see the trick& On that note, think of any number that you d see on a playing card, then think of the colour and finally the shape of the suit. By asking somebody to think of a number between 1 and 10, you automatically suggest a number between 2 and 9 therefore 1 and 10 will be lost. By saying think of any number that you d see on a playing card you instantly open the floor for the 10 without saying it again, which hopefully will already be set in their thoughts. It s in this command that you also hex any face cards. I always find the best suggestion for a suit is the heart. It s so easy to shape (about the size of a lovely cushion) in the space between you and the spectator. This is done not as you ask for the shape of the suit but as you ask for the colour. The shape of a heart should trigger the colour red and in reaction to why they thought red, they will see a delayed heart and not know why they thought of it; reversed misdirection, or more like delayed direction of thought. 4 // The performer then asks the spectator to take a card out and replace it back in the deck upside-down all with the deck still held behind their back 5 // The cards are then brought back around and the spectator is asked search through for the reversed (face-down) card 6 // The face-down card is turned over revealing the card just named by the spectator Here s where it might be time for plan b& should the spectator have thought of a different card I usually have the following note close by& Although it wasn t the card you thought of, my fake suggestions should have distracted you enough so that you would turn over the 15th card from the top The 10 of HEARTS. IRREVERSIBLE // NOTES + AFTERTHOUGHTS + CREDITS When out on the scene and ready to use the deck, although I have it ready to go, I also have a number of other free regular force cards to add to the deck ready to perform again with a different card. It can be quite humorous and equally mesmerising to just repeat the trick with the same force card adding something ridiculously redundant such as sometimes lightning does strike twice. However, your reputation is probably worth more than something that self-defecating, nor would you want people to think that that s the only card you can do the trick with therefore suggesting a trick deck thus shattering your repertoire faster than the lightning monologue. Breathe. Do be aware that the more the deck is shuffled the more damage will occur to the roughing fluid and the less grip will be held between the cards. Do make sure that the cards still have a good grip on each other before performing the effect. Do this by simply turning a card over and spreading the deck. When applying roughing fluid to the cards, please be very careful and do take serious note of the warnings on the packaging as the fumes can be harmful if misused. Saying that, don t be afraid to add more fluid to make your deck last longer, just don t over-do it, the smell can linger. I m sure there are many more routines for the effect and ultimately can just be used as something of an ultimate force. As ever, I love to hear other performers variations of effects and would be more than happy to publish in the 2nd edition those that proceed the publishing standard. I have a set rule that has yet to be broken regarding my personal discoveries and expressions in magic products and performance decisions and feel that I must answer an FAQ that I constantly find clogging up my tiny inbox& I do not plan on releasing any material through any major known retailers or distributors, nor do I want to fulfil any role in products or productions that do so. This has nothing to do with keeping an underground reputation or any expression of arrogance but simply my ideal vision of how I see and want to mould what I refer to as my artwork. Any project that you may see me in or hear farts of my name in are there for the expression of art, helping other artists and for artistic movement only. I may have an irregular life but I do make a living and as long as I have my thoughts and love I feel no need to reach an overall target in the magic industry that I haven t already succeeded. If fewer magicians were in it for the money the industry could be a place worth inhabiting. I have to offer a thousand thankyou s to those who were kind enough to let me quote them for marketing the effect, you were very kind with your words and thoughts and also scare me vary much, especially Ron James, the manager of an (un-named at his request) magicians agency who offered the following quote: The only way to go from here is down; I ll get your P45 ready. I didn t feel this was very appropriate for the front cover but thanks nonetheless. I would like to share how Irreversible came to the form as you have it& Initially, I made the deck in a reverse order, all of the faces were roughed and a double face card was added to the deck, meaning that the card was revealed face-up in a face down spread. Although impressive, the obvious flaws eventually saw the end of the deck. Once re-designed I knew I was onto something that people would love and although tested on many laypeople I new I d have to test drive it on other performers and did so at the 2007 Blackpool convention. For those who had the pleasure, I offer my apologies for taking so long to release the secret, there is however a wealthy explanation& Having receive rave reviews and interest from distributors, many offers to buy or market the effect as what I d call a pop-effect landed at my door. Having momentarily studied the costs and final shelf price I decided to remove the product from offer. As with all of my work and ideas, I didn t want to release an effect such as this at such a high price. The initial offer was a package effect, a shelf-trick-deck all sparkly and shiny and advertised as something that it wasn t. Ultimately, this is a simple idea that you can add to a deck you more than likely already have, and if you don t and have to buy the deck or make this effect from scratch, I assure you that you ll be spending far less money than you would should you buy it ready made. I did consider buying the equipment and making the decks myself but didn t want to put the price up anymore to cover the costs for the very reason that you would have discovered that the principal is overpriced for what it actually is. I hope that you can appreciate these decisions, I myself have been there far too many times opening an expensive trick to find out I could have made it for a tenth of the price. I wouldn t want to offend any of my new or loyal customers and nor do I wish to take my art into a mainstream industry. I must credit the creator of the invisible deck for being an unknown part of this creation. I offer my sincere thanks to you all and hope that Irreversible offers further realism to your existing repertoire. Gratefully D � Daniel Madison 2007 for Devils Advocate Productions The copyright held over IRREVERSIBLE // is infinite unless surrendered by the copyright holder // is held over the principal idea, performance and handling // is in no way associated with any other product // prevents sharing, copying, printing, public display and use without given permission // covers broadcast of performance of the principal idea without given permission. Any breach of this copyright will be dealt with legally and without notice. Please note that product copyright may differ from the PDF copyright version. For permission to breach these copyright rules, please email D@DanielMadison.co.uk for advice and request of further permission.

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