mag·ic

noun
1. the art of producing illusions as entertainment by the use of
sleight of hand, deceptive devices, etc.; legerdemain; conjuring

magic.redefined
the.card.notes

sean.fields
magic.redefined
the.card.notes

sean.fields
 Copyright © 2007
All rights reserved. No part of this book, in part or in whole, may be reproduced, transmitted, or utilized, in
any form or by any means electronic or mechanical, including photocopying, recording, or by any information
storage and retrieval system without written permission by the author.
magic.redefined sean.fields

table.of.contents

Surreal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 5

Ambition Impossible . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 7

Get Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 9

PaintShifter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 10

PaintShifter Plus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 11

PaintShifter Pro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 12

Hush Money . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 14

InconTWISTant. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 16

Wormhole . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 17

Brain Tumor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 19

introduction
Hey there! Sean Fields here, and I just wanted to thank you for purchasing these notes. These notes contain
some of my favorite effects, effects I use on a daily basis. There is no filler; this is the real deal shit right
here! Each effect is practical, direct, visual, and above all else, effective.

Don’t let the simplicity fool you; these effects are pure gold in ‘the real world’. Learn them. Practice them.
Use them.

This isn’t your grandfather’s card magic. This is hot new magic, for a hot new generation. This is card
magic. Redefined.

Page 3
magic.redefined sean.fields

surreal
ef·fect:
A fantastic opener, with spiritual influences from Alain Nu, wherein the spectator’s perceptions are used
to create a surreal experience.

meth·od:
This is simply my favorite way to open my routine. It is a perfect opener. It is quick and direct, it is
remarkably visual, and it requires no participation from the spectators. What more could you ask for in
an opening effect?

The routine is based on a vanishing card box; the creator of said box eludes me. It seems to me it was John
Cornelius, John Kennedy, or Gary Kurtz. I could be wrong, but when in doubt, it is a safe bet one of those
three gentlemen is the source.

I took the card box effect and sautéed it in inspiration from Alain Nu’s ‘Flasher’ routine. The result was a
routine that evokes wonder and delight; the equivalent of magic comfort food.

Before we begin, you need to assemble your props.

Go to a dollar store, and buy some reading glasses; they don’t have to look good. Punch out the lenses and
throw them away; you won’t need them. Set the frames aside.

Now for the vanishing card box; start by cutting off the flap side of a card box. Dispose of the remainder
of the box, as it is not needed.

Glue an indifferent card to the inside of the flap side, back side out. Trim all excess cardboard from the flap,
using the card as a guideline. Be sure to trim the actual flap as well, so it is the exact width of a playing
card.

Finally, trim the ‘flap’ edge of the card to line up with the third crease on the flap.

To set up, place the box gimmick box side up, on top of the face down deck. Place your jokers face up on
the bottom of the deck. The jokers allow you to flash the bottom of the deck, and my 999 lovely lady
Courtney 999 is credited with this nuance.

Place the set up deck in your right hand jacket pocket, and put the frames on your face. You are now ready
to approach your audience.

From here on out, I will describe the performance in action only, as you can develop your own presentation.

Bring the deck out of your pocket, box side up, flap forward, in dealers grip. Be sure to tilt your hands
slightly forward, allowing the audience to see the top of the deck, as well as the front edge.

Flip the flap open, pinning it back with your thumb, and slide the deck forwards for about half its length
and pause to allow the image to sink in.

Page 5
magic.redefined sean.fields

Continue pulling the deck forward, and as soon as it clears the front edge of the ‘box’, flip it back towards
you, end for end, on top of the ‘box’.

The backs of the jokers will show; push the jokers off the deck, and deal them face up on the table.

Turn the entire deck over end for end again, covering the short edge of the card, and immediately spread
the cards between your hands, revealing the absence of the card box. Square the cards.

Turn slightly to the right, and raise your left hand to your face, poking the first and second fingers through
the ‘lenses’, effecting their disappearance. As all attention is on the glasses, simply dump the cards in your
right pocket!

Face forward, bringing your hands together as you do, as if you were still holding cards. Mime squashing
the deck between your hands, then slowly open and separate your hands. The deck has vanished!

What a fantastic applause cue, and believe me, they will applaud! This also provides a moment of relaxation,
during which you simply remove the deck from your pocket. Again, they simply will not notice, as they
think the effect is over!

Spread the cards face up, and extend the spread towards the spectators; not only will they realize the cards
have returned, but they will assume you want them to remove a card. When they reach for a card, slam the
spread shut. Allow the flap to open into your palm, and turn the deck over end for end, ‘wrapping’ the flap
around the deck, for a flash reappearance of the case.

As before, flip the flap open, and ‘remove’ the deck. Place the box gimmick in your pocket, and proceed
with your best card magic; you have set the expectations pretty high, so mediocre effects won’t cut it!

Page 6
magic.redefined sean.fields

ambition.impossible
ef·fect:
The effect is a timeless classic; a selected card continuously rises to the top of the deck, after being placed
in the middle. As a spectacular finale, the card is seen to slowly and visibly rise to the top!

meth·od:
Every magician has their own Ambitious Card routine, they are kind of like fingerprints; everybody has
one, but each is a little different. What I offer here is my proverbial fingerprint for you to examine. My
routine breaks the mold of many other routines in a number of ways; the number of phases, the patter line,
the motivation for the signature, and the climax… OH the climax! The Ambition Impossible move as it
has come to be known is so visual, so unbelievable, I would put it up against of the gimmicked climaxes
on the market, that is how proud and confident I am.

To begin, spread the deck, and have the spectator touch the back of any card. Slowly move the card to the
top of the deck, stressing how fair the selection was.

Perform a triple lift, displaying their ‘selection’. Turn the triple face down, and bury the top card (an
indifferent card) into the middle of the deck.

Squeeze the deck saying “If I squeeze the deck, that causes the ink from your card to rise up through the
deck, making it look like your card is on top!”

Matching actions to words, perform a double lift, displaying their card back on top. Now you say the
following:

“Now, some people don’t believe in magic, can ya believe that?! They think that I actually have more than
one 7 of Hearts (or whatever card they chose) in the deck! To prove that is not the case, I want you to sign
your name in big bold letters across the face, making that the only card like it in the deck. In fact, that will
be the only card like that in the world! Unless, of course, you have seen this trick before…”

As you deliver the above line, have them sign their name across the face of their card.

Turn the double face down, and put the top card into the middle, repeating the line about squeezing the
deck. Turn the top card face up showing the arrival of the card yet again. Say the following:

“Some people seem to think that I cheat. Can you believe that?! They think that I don’t actually put the
card into the middle; that somehow I switch the card for another. To show that isn’t the case, I will put your
card in the middle face up, so you can not only see where it goes, but when it goes…”

As you deliver the above line, fairly place their card into the middle of the deck, face up, obtaining a break
above it as you do. Perform your very best pass, causing the card to arrive on the top of the deck face up.
The next sequence follows this line:

“Now, even after all that, some people seem to think that everything still isn’t on the up and up. They

Page 7
magic.redefined sean.fields

seem to think that through some inhuman ability, I am able to sneak their card out of the deck, and put it
on top so fast as to render it invisible to the human eye! Outrageous, I know… To disprove that theory, I
will do this one last time. This final time I will attempt to cause your card to rise from the middle to the
top face up, with one hand, and in slow motion! Watch…”

Now, here comes the fabled Ambition Impossible move…

Take their card face up, and perform a Tilt Illusion. It looks as though their card goes into the middle, but
in reality it is 2nd from the top.

Grip the deck from above in Biddle grip, with your first finger and thumb as close to the side of the deck
as possible.

Your ring finger reaches around to the rear of the deck, and presses inward, against the deck. It now slowly
runs up the side, creating a ‘ripple’ in the visible side. This is creepy! But it is going to get better…

Once your ring finger reaches the top, immediately perform a one hand top palm. Properly performed, it
really looks as though the card rises through the deck, right to the top!

Take your applause, you have earned it!

Now the Ambition Impossible move is not tremendously innovative, really all I did was combine 2 separate
moves into 1. I modified the Upwardly Mobile move to be done from a Biddle grip, and tacked on a one
hand top palm, but the result is spectaculer! If you ever get a chance to see me, I will gladly perform this
for you.

I have found that in this routine, 4 phases is perfect. Not too long, not too short, just right.

I have also eliminated the signing in the beginning of the routine, and have them sign it on the 2nd phase,
and I tell them why they are signing it; it seems more logical to them this way.

The last thing I want to point out about this routine is the patter. If you noticed, I actually describe the
methods I just used, and cite them as impossible as I go on to use a different method. This one behind
exposure really drives home the impossibility of the whole routine.

Well, there ya have it, my Ambitious Card routine, Ambition Impossible. I hope you like it. Even if you
never use it, I hope you got something from my approach. Get some Ben Gay guys, if you are going to
master the Ambition Impossible move, your fingers will need it!

Page 8
magic.redefined sean.fields

get.out
ef·fect:
An amazing elaboration of Paul Curry’s “Out of this World”.

meth·od:
Begin by borrowing a deck, or at the very least, having your deck shuffled. Have the participant (yes, only
1) cut the pack anywhere they like, preferably towards the middle.

Ask the spectator to decide which half they would like to use, and whichever half they don’t choose, spread
face up across the table, displaying the shuffled nature of the deck. I personally leave the deck spread, as
it seems to provide not only a reference of the shuffled nature of the deck, but also as a contrast to the
inevitable climax.

Have the spectator push a red card, and a black card out of the face up spread, as indicator cards.

Pick up the chosen half, and get ready to separate the colors...

To separate the colors, you will use a very old, but very reliable and deceptive move; the Biddle Subtraction.
Holding the pack face up in Biddle grip, run through the cards 1 by 1, showing the mixed nature. Now,
assuming the face card was black, you will be stealing back red cards, and vice versa.

Run through the cards until you encounter your first opposing colored card, and as you run it, obtain a
break beneath it, but remember the name if the card, it will serve as a key in a moment As you come
back to count/run the next card, you steal the card above the break back beneath the packet. You do this
for all red cards, whether they be single, or in groups, you steal them back beneath the packet. You continue
in this fashion until you encounter your key card, at which point you drop the packet onto the counted
off cards. You have now secretly separated the reds and blacks.

Have the spectator deal cards onto whichever indicator they like until they run out of cards. Now to arrange
the packets...

I use a backwards elaboration of a Harry Lorayne false cut.

Pick up a packet, it doesn’t matter which one, and riffle cards off the face until you reach the first odd
colored card, obtaining a break between the colors in the packet you hold.

Now, simply maintain your grip on the cards above the break, as you go to pick up the other packet. Your
hand shades the fact that you have cards in your hand, and the fact the the entire(?) packet is visible in the
other hand helps obscure this move even more.

Drop the cards you have held back onto the tabled packet, and immediately pick the entire packet up, and
drop it onto the cards in your hand. Boom, the now assembled packet is once again separated reds and
blacks.

Turn the packet face up, and whatever color shows on the face, place the packet face up under the opposite
indicator card, and spread towards the other indicator card, displaying the separation.

Page 9
magic.redefined sean.fields

paintshifter
ef·fect:
Our hero, Captain Amazing explains how most card tricks can be difficult to follow; there are simply too
many cards!

In an effort to ensure everything is fair and easy to follow, he turns the top two cards of the deck face up,
explaining that he will do an illusion using on these two cards!

The cards, in this case the queen of clubs and the four of hearts, are placed face to face, and in an instant
they visibly change places!

The audience is left with a firm feeling of disbelief, and an examinable deck of cards. Captain Amazing is
left with a warm fuzzy feeling that he just fooled them with nothing more than an extra card.

meth·od:
The title of this effect should certainly clue you in as to the modus operandi at work here; the Paintbrush
change, and the ShapeShifter change. One is used to effect the actual transposition, while the other is used
to secretly switch cards.

As you can surmise from the above description of the effect, a duplicate card is used. I know many purists
out there will despise this effect because of it, stating that there are dozens of two card transpostions that
don’t use gaffs or extra cards. They are absolutely correct. However, very few of them will match the
unbelievable clarity, cleanliness, and overall visual impact of PaintShifter. Enough talk, lets get down to
business!

As mentioned above, a duplicate card is needed. For illustration purposes, our card will be the queen of
clubs.

Place the two queens of clubs on top of the deck, with a contrasting card beneath, again, for illustration
purposes, our card will be the four of hearts. It really doesn’t matter, however I like to use contrary cards
for the visual impact of the transposition. If I am using black court cards for my duplicates, I will use a red
spot card, as we are here.

So before we go any further, a quick status check; you should have from the top down: queen of clubs, queen
of clubs, four of hearts, remainder of the deck.

Explain that most card tricks can be difficult to follow, as they use too many cards. Continue by stating that
you will try to make things easier to follow by only using 2 cards. As you say this, take the top 2 cards off
the deck, without showing their faces, and display them by sliding them back and forth, which subtly draws
attention to the fact that there is only 2 cards in play.

As you are displaying the 2 cards, obtain a break beneath the top card of the deck, the indifferent card. Place
the 2 cards back on top of the deck, and immediately turn over all the cards above the break; the indifferent
card, and both duplicates.

Page 10
magic.redefined sean.fields

A quick status check says we now have a face up indifferent card, 2 face up duplicates, and the remainder
of the deck face down.

Draw attention to the first face up card, the indifferent card, naming it, as you turn it face down. As you
are turning it face down, obtain a break beneath the top duplicate card. Place the indifferent card face
down on the deck, and immediately push both cards above the break (the face down indifferent card and
the uppermost face up duplicate) forward, and then angled towards your thumb, which will allow you to
regrip the card(s) by the corners, in preparation for a ShapeShifter change.

Pick up the card(s) by the corners, calling attention to the remaining face up card, the other duplicate,
naming it.

Perform a ShapeShifter change, and immediately move the hand back and drop the card(s) back onto the
deck, but injogged for about an inch, in preparation for a Paintbrush change.

Draw attention to the face down four of hearts and the face up queen of clubs, and let this image sink in
for a moment. And then...

Perform a quick Paintbrush change, pushing the 2 cards forward, and then immediately pulling only the
top card back to its original starting position. This is a striking change, especially when used under the guise
of a transposition.

Allow this new image to sink in for half a beat, and then remove the face down card, and show it to be the
queen of clubs. This will kill ‘em!

Cleaning up is a breeze. Replace the queen face up on the top of the deck so you now have face up queen
of clubs, face up four of hearts, face up queen of clubs, remainder of the deck face down. Turn the top three
cards face down, and drop the top two cards to the table, face down. Palm of the top card of the deck, and
drop the remainder of the deck to the table as well. Ditch the palmed card at your leisure. Yes, I know, the
clean up is discrepant; the queen and the four are in the wrong places, but nobody notices!

Now, as simple as PaintShifter is, it gets big reactions, far outweighing the 2 minutes it will take most of
you to master it. However, for those of you looking to make a strong effect even stronger, take a look at...

paintshifter.plus
The effect and method is identical. However, in PaintShifter Plus, without any change to the basic handling,
you can effect a second transposition — one that occurs in the spectators hands!

To learn this modified miracle, lets join a performance already in progress...

You have just performed the Paintbrush change, revealing the transposition. Turn the face down card (a
queen of clubs) face up to reveal the transposition completely, and drop it face up on the table. Explain
that you would like to do it again, and draw attention to the four of hearts face up on the deck. This of
course, is the face card of a double.

Page 11
magic.redefined sean.fields

Turn the double face down, and hand them the top card, the other queen of clubs. Pick up the face up queen
of clubs off the table, and do a top change as you table the deck off to one side. The rest is simple build up.
Make your magic move, and display the transposition has occurred again!

PaintShifter Plus turns a strong quick transpostion into a short powerful routine, well suited to any
performance venue. However, for those looking to turn the heat up on PaintShifter Plus, and add a mind
melting, ass kicking, WTF kicker, look no further than...

paintshifter.pro
This is my favorite handling, especially for magicians. They think they are following you, and then you
punch them in the face. Not literally, but figuratively.

Essentially, this is just PaintShifter Plus, with a 2 Card Monte kicker. However, by qualifying the kicker
ahead of time with a legitimate effect, when the kicker does occur, it is like a frying pan to the face.

For PaintShifter Pro, you will set up as before, but you will add 2 jokers on top of the whole set up. From
the top down you will have: joker, joker, queen of clubs, queen of clubs, four of hearts.

Now essentially perform PaintShifter Plus with 5 cards rather than 3. Here is a brief run down.

- Take the top 2 cards off, but don’t show their faces.

- Obtain a break beneath the top 3 cards of the deck.

- Replace the 2 cards onto the deck, and immediately turn over all the cards above the break; all 5.

- Turn the uppermost card (the four of hearts) face down, stealing the uppermost duplicate beneath
it, and prepare for the ShapeShifter change.

- Perform the ShapeShifter, and drop the card(s) back on the deck, in-jogged in preparation for the
Paintbrush change.

- Perform the Paintbrush change, revealing the transposition.

- Turn the face down card (a queen of clubs) face up and drop it to the table.

- Draw attention to the face up four of hearts on the deck, which is the face card of a quadruple, and
turn the quadruple face down, handing the top card (a joker) to the spectator.

- Pick up the queen off the table, turn it face down, and top change as you set the deck aside (you
will now be holding a joker as well).

- Ask the spectator if they think you can do it again under these impossible test conditions. They will
say ‘No.’ You say ‘Then this’ll blow your mind, check it out’.

- As they are turning over their card, you turn over yours. You will both be holding jokers!

Page 12
magic.redefined sean.fields

PaintShifter Pro packs a real mean punch, and is a great opener, as it requires very little involvement from
the spectator, and is very quick, powerful, and visual. Not a bad way to prove your prowess to a group of
strangers, that’s for sure!

For you corporate guys, PaintShifter Pro can be used to great effect at tradeshow gigs; just replace the jokers
with blank cards with the company logo printed on them.

If you don’t do tradeshows, PaintShifter Pro is still a fantastic way to hand out a business card. Just have
your information printed on the face of the blank cards. If you can’t print onto blank cards, run off some
stickers on your home printer, and stick them the to faces of the blanks. After seeing this effect, they will
call you!

Page 13
magic.redefined sean.fields

hush.money
ef·fect:
On his last trip to the lush, dense rainforests of Africa, the close-kid wandered deep into the unexplored
jungle, and was greeted by the poison-tipped spears of the natives. His new friends escorted him to their
leader, and after several hours of trying to break the language barrier, with the prospect of being offered to
Mokele-Mbembe as lunch, he performed the often discussed but seldom seen ‘Appearing Log in Pants’. The
leader of the tribe, shocked and amazed, whipped out a brand new deck of Bicycle cards, and proceeded
to cause our hero’s selection, signed in indelible pygmy ink, to vanish from the deck, only to immediately
reappear inside his wallet! The leader of the tribe was not just the chief, but a shaman! And one hell of a
poker player…

After several days of sharing the secrets, our hero left the village, bringing back with him the memory of
an incredible shaman, a spectacular card to wallet effect, and a pants log, to remind him of the day he was
almost dinosaur dinner.

Okay, so that description was for my own enjoyment; here is another description of the effect, which also
outlines my presentation of the effect:

A card is selected, and signed. Immediately upon return to the deck, the deck is spread face up, and a card is seen
face down. The audience anticipates the climax. The card is removed and turned over, it is the wrong card!

Stating that he feels bad for blowing the trick, the magician offers a slight monetary gift, so that the
spectators don’t tell anyone about his crushing failure. That’s right, hush money!

With an obviously empty hand, the magician removes his wallet, and opens it. Inside is the signed selection!

meth·od:
Okay, so this is just a card to wallet, but what a card to wallet! There is no gimmick; the wallet is normal
and unprepared. The method allows for some pretty nice additions too, such as the ability for the card to
appear inside an envelope (or nest of envelopes for that matter) inside the wallet. And it is painfully easy
to do as well. Be sure you are using a standard billfold style wallet.

To start, simply put the ½ the wallet in your back pocket, letting the other ½ flap free outside.

Have a card selected, and signed. As the spectator is signing their card, reverse the bottom card of the deck.

When they are finished, break the deck in the middle, and have the card replaced, maintaining a break above it.

Perform a pass. This pass accomplishes 2 things; it brings the selection to the top, and it centralizes the
reversed card. Economy of motion in action kids!

Palm the top card (the selection) as you turn the deck face up. Lean forward slightly, and spread the cards
across the table. The reason for leaning forward seems to be so you can spread the cards widely, but it serves
another purpose; it allows your left hand to drop to your side, with the palmed card.

While spreading the cards, your left hand simply slides its card into the opening in the wallet.

Page 14
magic.redefined sean.fields

Stand up straight, and point out the reversed card in the center of the deck, hinting that it might just be
the selection. During all this, make sure to keep your hands in view in front of you, this is important to
the revelation.

Have the spectator remove the card and turn it over. Of course it isn’t the selection, and it seems as though
you miscalculated your effect. Pause for a moment to let this apparent error sink in.

Now, with an obviously empty hand, reach back, and grab your wallet. Flip it closed behind you, and
bring it forward. Reach inside and slowly withdraw the selection. As with all card to wallets, they will lose
it here!

If you wanted to cause the card to appear inside an envelope inside the wallet, simply get self-sealing
envelopes. I like the 3”x5” manila style. Slide the envelope into your wallet, and leave the flap up, making
sure to remove the strip that covers the adhesive. Now when you load the card, you load it inside the
envelope, and seal the envelope as you push it inside your wallet.

If you wanted to do this to a nest of envelopes, the set up would be no different than above, simply stick
each envelopes flap to the flap of the envelope it is inside. The rest of the handling is the same; load the
card, seal the envelope(s), and push them into the wallet. Now when you remove the envelope from your
wallet, let them examine it, making sure it really is sealed. Tear off the top of the envelopes, and pull out,
rather than dump out, the envelope within. Continue this until you reach the card. The reason for this is
that if you were to simply dump the contents, the card would slide out, and the fact that there is a nest of
envelopes would be lost.

You could use this handling without the wallet, simply the envelopes in your back pocket.

You could also use the selection and control described here for a laser direct card under drink.

There is a lot to think about here, with self-sealing envelopes, the control, etc. Let your juices flow guys.

Page 15
magic.redefined sean.fields

inconTWISTant
ef·fect:
Our hero, Super Magic Guy, removes the four queens from his trusty deck and displays them face up.

Magic Guy says that by squeezing the cards, he can cause the ink from the back to melt up to the face of one
of the cards, making it look like one of the cards turns over. After the squeezing bit, the cards are once again
shown, one of them face down! This is repeated with the other three queens, until they are all face down. For
a killer climax, when one queen is turned over, they all turn over. Not once, but twice!

Oh yeah, only four cards are used...

meth·od:
Okay, this is so simple, I have trouble believing that I am the first one to come up with this, however I have
never seen anything like this in print.

To start remove the four queens from the deck and arrange them in alternating colors, red, black, red, black.

With the cards face up, you now must reverse the third card from the face. I use a Marlo Future Reverse, but
whatever you are comfortable with is cool.

You should now have from the face to the back: red face up, black face up, red face down, black face up.
Anyone see where this is going?

Perform an Elmsley count showing four face up queens. Perform another Elmsley showing one face down
queen, the last card goes to the bottom. Perform yet another Elmsley to show two face down cards.

Now you have to turn the whole packet over. Scratch your forehead, extend your hand, whatever suits your
personality will work nicely right about now.

After the packet has been turned over, perform yet another Elmsley to show three face down cards.
Now spread the cards, really showing three face down cards. Now, take the first and third cards in one hand,
and replace them on top of the other hands cards, effectively setting you up for, you guessed it, an Elmsley count.

Elmsley count showing four face down cards. Now for the big finale...

Reverse the order of the top two cards, double lift, showing four face up cards. Double lift again, Elmsley again,
showing four face down cards.

To finish, perform the move from the Asher Twist to clean up. I would give a brief description of the move, but
ethics and good taste prevent me, so please don’t reply asking about that particular move. Not to be a jerk or
anything, just not something I would like to do.

Comments:
Listen, as repetitive as this sounds, it is sooo easy, and it gets an incredible reaction every time I perform it. It
should be obvious why I called this InconTWISTant. There are so many inconsistencies and discrepancies, but
they always go unnoticed. Try this once, you’ll like it. I fried all of my magic buddies with this, it is that clean.

Page 16
magic.redefined sean.fields

wormhole
ef·fect:
The wonder-worker introduces a deck of cards, removing the jokers and tossing them on the table. He then
goes through the cards, removing one as his prediction. This prediction is then placed face down in between
the two face up jokers on the table.

A card is now selected, signed, and lost back in the deck. Without further ado, attention is called back to
the prediction between the jokers. The prediction is removed, it is the signed selection!

meth·od:
Introduce the deck, and run through it, removing the jokers, tossing them face up on the table. Now run
through the cards, and remove any card that tickles your fancy, it really doesn’t matter, just be sure that the
spectators do not see this card. Place this card face down between the jokers, and square the three card
packet.

Now have a card selected, signed, and returned to the deck. Control the card to the top via your favorite
method.

You are now going to use a old (but very cool) move to switch the indifferent card between the jokers for
the selection on the top of the deck. The move in question; the Kosky Switch.

Pick up the joker packet from the table in biddle grip, secretly obtaining a break below the selection on
the top of deck as you do so. Bring the packet to the top of the deck for a fraction of a second, just long
enough to load the card above the break beneath the packet.

Immediately slide the top joker off the packet onto the deck, up-jogged for about half its length. Slide the
next card (the face down card) onto the deck as well, but square with the deck. Finally, drop the last joker,
with the selection hidden beneath onto the deck, injogged for half of its length.
Okay, here comes the switch. Slide the rear joker forward, and as you pass the face down indifferent card,
push the hidden face down card forward slightly. This invisibly switches the indifferent card for the
selection, all the while it seems as if the card is trapped between the jokers. Cool, huh?
Once the face down indifferent card is switched out, pull all three cards forward, clear off the deck. This
completely removes the indifferent card from between the jokers.

Turn over all three cards to reveal the selection.

Comments:
Okay, this is the most direct application of this switch possible. I am sure I am not the first to think of this.

Just a few notes on the switch:

- The actual switch is much easier if you lift the rear of the double slightly as you are
sliding it forward

- If you pivot the cards off the deck rather than pull them straight forward, the illusion is
much better

Page 17
magic.redefined sean.fields

- Be sure to hold the deck firmly, not a death grip, but enough to make sure the indifferent
card doesn’t slide forward with the three card packet

For those of you interested, here is the 2nd handling I came up with.

To start, remove the two red jacks, and place them face up on the table. Remove any other card, and place
it face down, in between the face up jacks, calling it the mystery card, or some such rubbish, and square
the three card packet, leaving it on the table.

Have a card chosen, signed, and controlled to the bottom of the deck. Square the deck up, and cop off the
bottom card of the deck (the selection). Place the deck aside.

Pick up the three card packet off the table, adding the selection to the bottom. Your position is FU Jack,
FD indifferent card, FU Jack, FD selection.

Now for the actual switch. Holding the packet from above, in biddle grip, slide the top card off, into dealers
grip of the other hand. Slide the face down card into dealers grip as well, and drop the last face up jack on
top of all, squaring the packet. Your position now is FU Jack, FD Selection, FD Indifferent, FU Jack.

Slide the top card back, revealing a face down card. Immediately, slide the face up jack forward again, but
with your middle finger, also push the face down card forward. That will effectively out jog the face down
selection, while keeping the rest of the cards square, for the move to follow.

Obtain a pinky break above the bottom card of the packet. Now you are essentially going to do a Larry
Jennings move, normally used for double lifts.

Your pinky is contacting the cards above the break, and your first finger is contacting the bottom card. You
now split the cards, the pinky moves down/in, the first finger kicks its card the other way. This is essentially
a mock push off. What the audience sees is one face down card in between two face up cards. The actual
situation is the face down indifferent card is square with the face up jack above it, with the face down
selection between, and the other face up jack on the bottom of the spread.

Allow the spectator to remove the face down selection, and just drop the cards onto the deck upon
conclusion.

Page 18
magic.redefined sean.fields

brain.tumor
ef·fect:
This is Brainwave on industrial strength speed!

The four queens are removed from the deck. A spectator is asked to name a color, then a suit from that
color, lets say the queen of clubs. The four cards are shown, the thought of card is face up! So far, so
what…Here is where things get weird…

The magician says he knows what the spectator must be thinking, ‘What if I chose the other black queen?’
No sooner then said, the cards are shown again, this time the other black queen is face up!
Once again, the magician states that the spectator could have chosen the red cards. Immediately, a red
queen is shown face up! The magician says it’s a good thing the other red queen wasn’t chosen, because all
four cards would have to change to that card. Upon saying this, all four cards are shown to be the remaining
red queen!

Stating that this could not be, as no deck has four of the same card, one by one the four duplicates are visibly
changed back to the original four cards!

No gaffs, gimmicks or otherwise! Simply four cards, and some cool sleight of hand!

meth·od:
This is so cool! I nail people with this one daily… This could be my most performed piece.
To start, remove the four queens, and arrange them so they are in black, black, red, red order from the face,
and remember their order. Turn the cards facedown, and reverse the bottom two cards. You will have two
facedown red queens on top of two face-up black queens. Have the spectator name a color. Whatever their
response, ensure that this color is the face up pair. For example, if they name black, you are fine, if they
name red, you must turn the packet over. This is a simple matter, I usually just do it as I scratch my face,
or something like that. You get the idea.

Now have them name a suit from the selected color. Depending on what suit they name, there is a count
to display it face up, while hiding the other face up card. Remember I told you to remember the order, this
is why. If the card they name is the bottom card, perform an Elmsley, up-jogging the face up card as you
count it. Once you have finished the count, strip out the up-jogged card, and move it to the bottom, still
face up. If the card they named is the uppermost face up card, perform a Jordan count. After this count,
move the bottom card (a face down card) to the top.

After displaying the chosen card face up, state that they could have chosen the other card, and perform the
count you didn’t do during the first time ( if you did an Elmsley the first time, you would Jordan count
this time).

You must now reverse the packet. I use a ShapeShifter change, as it invisibly reverses the packet. Immediately
perform another elmsley count, displaying another queen face up.

For the final queen, you must reverse the bottom two cards. A simple reverse will work fine here.
Immediately after completing the reverse, perform a flushstration count, displaying all four cards as the final
queen. Normally I hate the flushtration, however, it works so well here!

Page 19
magic.redefined sean.fields

After completing the flushstration count, you will perform what I have dubbed the Diminishing Shift
Sequence. Turn the top card over, it is the final queen, and place it on top of the packet. Immediately,
remove the top two cards ( the face up card, and the face down card below it ) in preparation for another
Shapeshifter change. Perform the change, drop the cards back onto the packet, and thumb off the newly
changed face up card.

Turn over the top card of the packet again, it is the final queen again, and prepare and perform yet another
Shapeshifter, exactly like you just did.

For the final change, turn over the top card, and place in underneath the face down card, and perform one
last Shapeshifter. Spread the top card showing the face up card underneath has changed. Display the face
down card as the final queen to finish.

Now many of you will say this is blatant over use of the ShapeShifter change, and you may be right.
However, this effect uses the Shapeshifter in new and exiting ways. To invisibly reverse a packet of cards is
a great use for the change. As well, this routine frames the change beautifully. It isn’t just a ‘look, watch, see
what I can do?’ It has a purpose. If you don’t like it, or don’t do it, fine, but I will. Once again, you should
at least try this one, the reactions it gets are ridiculous!

Page 20