
German: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

English: 
(old-time jaunty piano music)
- The magician invites both Susan Sausage
and Margaret Madison to select and sign
a playing card of their free choice.
(old-time jaunty piano music)
Seamless.
(old-time jaunty piano music)
Once both of those
playing cards are signed,
the magician takes them and continues.
With two signed playing cards,
I take the signed six
of spades to my pocket.
In a very simple moment of distraction
using the Sharpie, I am
able to switch the cards.
If the six of spades is here,
then the card in my pocket
has to be the ace of hearts.
It is not.

English: 
The ace of hearts actually
never left my hand.
I am Daniel Madison.
This is Relapse.
Both playing cards can then be handed out
for immediate inspection,
where the participants
are invited to respond accordingly.
I am Daniel Madison and this is Relapse.
(old-time jaunty piano music)
Three,
two,
one.
(upbeat rock music)
Don't you think it's bizarre how we all
decided to wear the same vest today?
With two signed playing cards,

German: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

German: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

English: 
I take the signed six
of spades to my pocket.
In a very simple moment of distraction
using the Sharpie, I'm
able to switch the cards.
If the six of spades is here,
then the card in my pocket
has to be the ace of hearts.
It is not.
The ace of hearts actually
never left my hand.
I am Daniel Madison.
This is Relapse.
I am Daniel Madison, welcome back.
Thanks for being here.
Thank for choosing to spend
a bit more time with me,
Charlie Madison, Margaret Madison
and Susan Sausage for this video.
Yes, the whole family's
here and this is arguably
my best card trick ever.
There are many card tricks in my career
that I've sat on for a long time;
not wanting to share them,
wanting to keep them for myself.
This is one of those tricks that I perform

German: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

English: 
every single time I use playing cards
and I've gone to extreme lengths
to make sure I don't perform this on film,
or if other magicians have sat
on this one for twenty years,
and I think, I think,
now is the right time
to finally share it.
It's a transposition,
it's a card-to-pocket.
You only need two playing cards
and both those playing
cards can be signed,
two different people.
This is a mother swear-word miracle.
The idea that you can this
easily mislead your audience
into believing that they're
one step ahead of you,
meanwhile you're deceiving
them in the biggest way
with the smallest items; two
simple, single playing cards.
Without further ado,
let's get straight to it.
I'm Daniel Madison, grab
yourself a deck of playing cards
and a Sharpie; this is Relapse.
Relapse, relapse.
Let's get straight to it.
Two playing cards; the six of spades
really does go in my pocket.

German: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

English: 
We keep hold of the ace of hearts.
By the time it takes me to
distract you with a Sharpie pen,
the cards appear to have switched places.
I'm now holding the six of spades.
That means the card in my pocket
must be the ace of hearts.
It's not, it's still the six of spades
because the ace of hearts
never left my hand.
I'm Daniel Madison, this is Relapse.
Here's how it works; when
you break this trick down,
it is actually very simple.
The timing, the pacing, the body language
and the behaviour and
the things that you say,
they are the most important
parts of this trick.
The mechanics, the technique,
the way that you achieve
this is relatively,
in comparison it's relatively easy,
and you really do use
only two playing cards,
so you can have any two playing cards,
freely named, freely
selected, freely signed

English: 
by two different people and
you don't need anything else.
You do need something; I do believe
that there needs to be a
moment of distraction in this
and you'll discover why when we get to it,
so for me, they've just
signed these playing cards.
Both Susan and Margaret have both
just signed these playing cards,
so I leave the Sharpie close by,
otherwise you can have something silly
or a drink or whatever,
whatever's close by.
For me, the pen goes down, I
hold the two playing cards.
Now, when I'm doing this for magicians,
and I don't advise that
you show magicians tricks,
but when I'm doing this for magicians,
I handle it like this and I say look,
the six of spades goes in my pocket,
and at this point I
say no, it really does.
For real people, for laypeople,
they want to see it as fairly
as possible, anybody does,
so I'm gonna hold them up like this
and you have to follow me
with the body language,
'cause you might not take me seriously,
I'm not messing around.
Everything I'm doing
is very well-practiced.
This trick is almost 20 years old
and it's taken me all this time

German: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

German: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

English: 
to build up the, not courage, but the idea
that I want to share this miracle.
It's been a difficult decision,
but now that my YouTube's
kind of doing well,
I think it's a good time to
share my best trick ever,
so everything I'm saying,
please pay attention.
I'm holding the playing cards like this.
I'm gonna put the six
of spades in my pocket.
Now, I let it fall into my hand;
as it's going to my pocket,
I'm already working it
into a Gambler's Cop.
Now, by now, I assume that
most people watching this video
know what a Gambler's Cop is.
I've gone over it a
few times on this video
and there's a masterclass on my website,
but essentially, it's a palming technique
where you palm a playing card
so that it looks like this,
so it's hanging out the back,
but from the front you can't see it.
Do I need to go over this?
Probably not for about
80% of people watching,
but we will get up close and I'll show you
everything that's happening.
But what's happening, the six is gonna go
already into a Gambler's
Cop on the way to my pocket,

German: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

English: 
so essentially...
I have to stop saying
the word essentially,
it's a weird word.
So the card's gonna kind of go from here
and fall into my hand,
into a very open hand,
so it looks like nothing's going on.
I'm kind of working it back
towards the back of my hand
so that I can grip it in this position.
So it can be here, I curl my hand now
into the Gambler's Cop
as I put it to my pocket,
so I'm already ready,
otherwise you have to get
it and put it in your pocket
and now get it into a Gambler's
Cop and then come back
because that's what you're doing;
you're gonna take this to your pocket.
It goes into a Gambler's Cop now,
I pretend to put it in my pocket,
then I bring my hand back
with the card palmed in it,
with the card hidden in my hand.
That's probably the biggest
moment in this trick,
is that very first part.
Now, I'm wearing my robe;
you can use pretty much
any pocket that's on this side,
which is on the palming side.
I usually use my butt cheek pocket,
I believe that's what it's called.

English: 
So with the six, I will show it.
Meanwhile I'm still
holding, it's very important
that you're holding this card up too.
So I go from here, I
go round to my pocket,
a simple down, I'm not
going in a simple down
and then up to bring my hand out
to make you believe that I
put something in my pocket,
don't actually have to go in there.
I do like the idea of big pockets
on the side or in the front.
Because this is a Gambler's Cop,
you don't wanna really go
on an inside jacket pocket
because then you have
to pull your hand out
in a very weird way.
So we're gonna work with this
pocket, with my robe pocket.
So I go down here, it's
now in a Gambler's Cop,
I bring my hand back as if it's empty.
I do not rush this card to this hand;
what's gonna happen now, the
six of spades is gonna come up
and I need a justification
to put this card now
in this hand, in the dirty hand.
It goes over the top like so,
as I go to pick the pen
up, your participant,
your audience, will follow this hand.

German: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

German: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

English: 
They don't care about this for the minute,
all they've seen you've put a
six of spades in your pocket
and this hand is empty as
far as they're concerned.
You're just transferring
this card over to this hand
as you go to do the next step,
so in their mind, this part
when you put this card here,
that's not even a step,
so they're not really
gonna register it too much,
and the reason I am reiterating this
is you don't wanna do what I can feel
a lot of people might wanna do.
The six of spades goes
here, it's in the palm now.
It's hidden right here.
You don't wanna put this card on top
and then straighten them straight away.
You don't wanna run because
no-one's looking yet,
no-one's looking for anything.
So when you bring this hand
back with the six palmed in it,
you wanna just hold it very
naturally, very normally,
making sure that you
don't flash this card,
don't show it to anybody.
So the card for me, I usually keep it
showing forward like
this for quite some time;
that's why I say hold it up like this.
Right here, the ace is staying up here

English: 
because if I do this, if I say ace six,
and now if I put this in my pocket
you might be a little bit
confused as to which card's which,
whereas if it's completely on
display it does a few things:
one, it allows this card to sink in,
it allows this card to be on your mind
when you know that the
other card's in my pocket.
So you don't have to
question what this card is,
you see it right to the very end,
you can avoid so much confusion
with people who might say
ah, I can't remember which
card you put in your pocket.
It does happen.
So here, the card's in my
pocket, I bring my hand back,
I leave it showing for as long as I can
and the very last moment,
I put it face down
very naturally in this hand.
You might think this is a good opportunity
to square these cards up,
which is the next step,
but no, you have to think
about the right time
and you have to get the timing perfect.
So the ace goes into this
hand like this, very relaxed.
I'm not gonna straighten
up the deception yet,
I'm not gonna clean up,
I leave it like this.
As this hand goes to get the Sharpie,
I now allow, in fact I'll move closer,

German: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

German: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

English: 
I now, from this position,
I put the ace on top.
As I go get the pen, I
allow the card to relax
and work its way down using finger one
to push it into position,
and finger one with finger three or four
are pushing these two cards
against the clench of my hand.
Finger one is gonna press
down and straighten up,
so I know that these cards are straight.
This whole situation feels
weird, it feels wrong,
but from the front it doesn't look wrong,
it just looks like you're
holding on to the card.
So now in this position, this allows me
to get back to my position,
this allows me to pinch both playing cards
with finger one and the thumb
in the corner and do this.
I like them to bounce up
out of my hand like this
so that I can display them like this.
Pause for a second.
Why am I displaying the cards like that?

German: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

English: 
Why not do this over the top like this,
making sure that they're square?
Why not hold them in a different way?
You have to hold them like this.
First of all, from the beginning, recap.
We hold the playing cards like this.
This is why it's important.
We hold the playing cards like this.
So right from the start,
we embed this image
into their mind even if
they're aware of it or not.
Psychologically, this is how
you hold playing cards to them.
If we, throughout the idea,
throughout the performance,
if we hold playing cards like this,
and they get used to that
and then at some point
we start holding the
playing cards like this,
alarm bells start ringing and
they will start to question it
whereas if they see it like this,
whether it registers or not,
if they see us holding
playing cards like this,
and then in that dirty
moment where we clean up
and we hold them like this again,
nobody's gonna question it
because they know that that's
how you hold playing cards.
That's the first part.
So the second part is we squared them up,

German: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

English: 
I do this and I show this card.
I'm showing it in my fingertips,
which proves there's only one playing card
in a bizarre way, proves
there's only one card.
The bounce allows me to do it again.
It's natural, it's a
very kind of flick bounce
to show you six of spades,
if the six of spades is here
you're stood like this with
a card in your fingertips.
It is crazy because they've just switched.
Nobody is gonna want to look
beyond this at the minute
because they wanna know
where the other card is.
If the cards are here and we clean up,
I move the pen and I come
over and I go like this,
and then I come and do a bounce,
it looks weird at that point.
If you do it to start with,
a very kind of natural
behavioural reasoning motive,
it's very behavioural,
doesn't need explaining
because it's part of your
persona, I guess, body language.
So when I straighten up, I do this.

English: 
They see it, it sinks
in, it's at my fingertips
so it can't be deceptive.
If the six of spades is here,
then the card in my pocket
already before you even
direct people to your pocket,
people are already thinking.
There's that saying, the
mind repairs the fractures
the magician creates in reality,
so you're inviting the
audience to lie to themselves.
They're the ones telling the story,
they're filling in the blanks
without you saying anything
because you just showed
them the ace of hearts
and a moment later, they're
now seeing the ace of spades.
That means the card in your pocket,
oh my god, this is a brilliant trick,
this guy's got a brilliant trick.
They think it's over at that point,
they think that the ace is in your pocket
and then that's the trick,
and that's another thing,
another reason why they relax
at this point, why no-one's
gonna want to check this.
They just want clarification,
they want that end point,
they want the punchline where
you take the ace of hearts out
and because there's a punchline,

German: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

German: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

English: 
because they already know what's coming,
because I've seen this one
before like most people say,
they will lapse and they
don't question it too much.
It's a beautiful web of
deception that's happening
that allows them to just
do it for themselves.
You don't have to lie to them
because they're the ones doing it.
You're in this position.
Because I've already
bounced it out of my hand,
it allows me to do it again,
so I bounce the six of spades.
If the six of spades is here,
now when I put it down here,
I'm gonna steal the six of spades,
but I hide it in the idea that I do this,
that I handle playing cards like this.
So I bounce, show them that
the six of spades is here
and then come down here,
I'll move in closer again.
I then come down here
and they follow the back.
Fingers one and two on
the front and I come down.
I just push the bottom card forward
and I pull the top card
back with my thumb,
allowing one centimetre overlap,

English: 
so that I can go from
here, overlap into my hand,
my thumb then, I'm waiting for the focus,
my thumb as I steal, looks
like a very natural move.
So, from here I say look, if
the six of spades is here,
then the card in my
pocket, that's the switch,
that's the steal, should I say.
And this isn't a palming
technique as such,
it's simply just so in the
beginning the ace here,
straighten up, six of spades, six.
If the six of spades is here,
it's very difficult to
show from that hand,
I should be on this hand.
So six, I push that six forward like this
and I say if the six of spades is here,
and I'm kind of almost Gambler's Cop,
kind of a lateral modified.
There's no word for it other than
just hiding it in your hand
and I guess that's the
whole point of a palm,
and I'm gonna hide that six in my palm

German: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

English: 
in the best way I can.
And it's all about knowing
where your eye line is,
where your audience eye line is.
Knowing what they're looking at,
controlling what they're looking at;
more importantly, controlling
what they're not looking at.
So when I steal that six, I already know
that they're looking at different places,
but I don't want them
to look at this hand,
so if I did this and then
the other one's in my pocket,
it's weird, it looks like
you're up to no good.
So you want this hand to
be as relaxed as possible.
That's why we shouldn't
call it a Gambler's Cop
or a lateral something
or other, a modified this
y'know, you're just
hiding it in your hand.
So for me, it's sticking out a little bit
in different directions.
I just know that I can hide
it comfortably like this,
as well as going to my
pocket with a very relaxed,
empty looking hand so from the front,
if the six of spades is here,
which I just took it away,
this hand looks very natural
when it's away to my pocket,
there's a card in it.
I've got it in a position
where I can open my fingers

German: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

English: 
and make it look like it
really came out of that pocket,
which is the last stage of the trick.
So ace goes on top, you move
the Sharpie to distract them.
By the time you've done that,
you can show the six for
a moment, for a beat.
If the six is here, then that
means the card in my pocket
must be, actually it's
still the six of spades
because the ace of hearts
never left my hand.
You start...
You start clean, you end clean
and there's only a few
kind of worrisome moments
where the card is palmed,
so you come back, it's palmed,
one, two, three, four, five, six,
seven, maybe about seven seconds
or maybe 10 seconds of
deception, of a dirty moment.
I say that as my stomach rumbles.
Oof.
10 seconds of a dirty moment where
you've gotta worry about
what you're hiding.

German: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

German: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

English: 
I used to do this where I'd use the deck
and have the deck in my hand
and I hid this idea in
a few different places,
but I never wanted to
share up until this point.
I think I've covered everything,
I'm kind of learning to
precisely and accurately
narrow all this important information down
into a video that makes everybody happy.
Some people don't like the long videos;
I don't want them to be too short
and I think I got
everything in that section,
and I don't even believe
I need to do a recap,
so let's go to the outro.
Thanks for being patient with me. (groans)
I'm so hungry!
I need some sausages.
That was Relapse, I hope you enjoyed it.
I hope you love performing
it as much as I do
and if you do use it, if
you use it on YouTube,
on the social networks, tag
me, I'll want to see it.
I want to see how well you perform
and I want to see what you
do with my work as well.
I don't know if you noticed,
but I try not to give
away too much patter,
too much scripting, because I think
although at some points, in some cases
with some tricks it's very important,

English: 
a lot of what you're doing can
revolve around your trickery.
I do like to encourage and
promote your own creativity.
I like to encourage you to be creative
and come up with your own script
and we're all so different and unique
and we all perform so differently
that you should take these tricks,
take the mechanics of them
and make them your own
and I think this one allows
for that so much more.
So I guess what I'm giving away
when I'm teaching my card
tricks, my magic, my deceptions,
I'm handing it over so it's
not mine, it becomes yours,
and I hope that this one
does become yours, Relapse.
I'll be back soon with some
more smashing tutorials,
just make sure that you're subscribed
so that you get notified
when my new tutorials drop.
And as promised, when we get to 100,000
I'm gonna take you all out to the street;
you're gonna get to see
all these tricks performed
in the real world, for real people, IRL.
What does that even stand for?
Thanks for being here,
thank for your time.

German: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

English: 
I'm Daniel Madison, see you next time.

German: 
 
