000

Sean Fields 1337 Notes

This document is for your eyes only! It contains highly classified

information. The secrets within have been held in the strictest of
confidence by an elite few. These men and women are known as the 1337.
You are now among them.
End. Transmission.

sean fields 1337 notes

Contents
20 B-Low . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Aquatic. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Iced Up. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Excised . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
FU2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Taste-itcular . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
1337P33K. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Ultimate Epic . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

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20 B-Low
EFFECT: The agent of illusion request that a witness present remove a $20
bill from their wallet. Handing them a pen, he also instructs that they
sign it for identification. The witness now folds their bill into
quarters, and hands it to the agent, so he can carry on with his mission.
The bill is laid on top of a glass table, and the agent slowly waves his
hands over the bill, which is then seen to MELT down through the glass
table top, so it is stuck to the underside of the glass! The witness or
the agent can then remove the bill from the underside, and unfold it, to
verify the witnesses signature. The witness is put into protective
custody, and the agent vanishes in a puff of smoke like a ninja.

METHOD: This assignment is virtually impromptu. While a gimmick is

involved, it is so common that you should always have it with you. Once
learned, I can assure you that you will always be prepared, as the effect
is remarkably powerful, especially considering how little effort you
actually put forth.
The gimmick as it were is nothing more than a second $20 bill. This is
folded into quarters, face in, but make each fold slightly off, by about
1/16th of an inch, making this bill slightly larger than if it were folded
exactly in quarters. Place this bill in your pocket, or somewhere easily
attainable, along with your pen.
Once you are seated at a glass table, ask to borrow a $20 bill. As the
spectator is fishing one out, you remove the pen from your pocket,
secretly finger palming the duplicate bill as you do so.
Hand the pen to the spectator, instructing that they initial, sign, or
otherwise deface the bill. Make sure that they sign the FACE side of the
bill. This can be as simple as instructing them to put a moustache on Mr.
Jackson (or the queen here in Canada), and then autograph their work.
At this point, take bill back, and place it directly above the finger
palmed bill, and square the 2 bills as 1. Because of the loose edges, you
can freely show the bill(s) around, without someone noticing the extra
bill.
Take the pen back, and place it in your pocket.
As you are putting the pen away, move your right hand (the hand holding
the bill) toward the spectator, instructing that they pay close attention.
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As they are focusing on the bill, you simply lick your left thumb
liberally.
Transfer the bill(s) to your left hand, smearing the saliva across the
back of the bill. Drop your right hand onto the table, flat, relaxed,
dead. This is integral to the effectiveness of this routine.
Take the bill(s) with your left hand, and place them under the table,
pressing them against the underside of the table, right beside your right
hand. Explain that it is easy to tell if the bill is underneath, or on
top. As you are delivering this line, look up at the spectator. They will
look up to meet your eyes. It is at this moment when the illusory espionage
will occur.
Slide your left hand to the left about an inch, to an inch and a half, so
the top bill (the signed bill with the spit on it) sticks to the underside
of the table, but the bottom (duplicate) bill slides into view.
Simultaneously, you slide the right hand to the left the same amount, so
the right hand is now covering the bill beneath the table. In one
continuous motion, bring the left hand with its bill, on top of the table,
and place the bill somewhere slightly left of the center of the table.
This is a beautiful sequence of events. In one fluid motion, you have
switched bills, and set up for the actual effect, before the spectators
even know what is going on! Because both hands are in motion, at the same
speed, and for the same distance, the switch/loading sequence is
invisible. Even if they were looking, they wouldnt see a thing. Because
you framed the area of motion (the table top), there are certain reference
points the spectator subconsciously locks onto; namely, your right hand,
which, of course moves, ultimately making their reference point a false
one.
Status check: The spectators signed bill is stuck via saliva to the
underside of the table, hidden directly beneath the right hand. The
duplicate bill is now sitting on the table.
Now, on with the effect.
Move the duplicate bill back, and to the right, right beside your right
hand. Now you will perform the exact same sequence as you did to load the
bill beneath the table. You look up at them, and instruct them to watch
closely. As they look up, you align the duplicate bill with the signed
bill beneath the table. Because the duplicate bill is slightly larger, it
will shade the bill beneath the table, making the hidden bill invisible,
from any angle.
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Move your hands away, and draw attention to the bill. All they will see
is 2 empty hands, and 1 bill sitting on the table. Now for the actual
illusion
Rub your hands together, and blow on them, as if you were trying to warm
them up. As you do, secretly lick the heel of your left hand.
Wave your hands over top of the bill once or twice. When you are ready to
actually perform the effect, bring your left hand down slightly, just
enough so the heel of your left hand contacts the bill, and move your hands
apart. The left hand drags the visible bill away, revealing the bill stuck
to the underside of the table. This is an unbelievably stunning moment.
It is so visual, you may have to give your spectators a moment to
appreciate what has just occurred.
Now, because of the saliva on the heel of the left hand, the bill will
stick, allowing you to raise the hands off the table. Think of it as a
zero effort palm. This allows you to remove your hands from the table, and
ditch the bill at your leisure, as the spectator pulls the visible bill
from underneath, unfolds it to verify their signature.
Okay, so what if you wanted to perform the penetration, and immediately
show your hands empty? It can be done, and it can be done easily. It takes
balls, but it is easy, and effective.
After you have performed the penetration, and separated your hands, turn
your right hand over at the wrist, so it is palm up, fingers barely
touching the table, wrist an inch or so above the table. After you start
to turn the right hand over, you start to turn the left hand over. Make
sure the left hand turns over a half beat behind the right hand; the extra
motion helps hide what is actually going on.
And what IS actually going on?
The left hand, just like the right, turns over in place at the wrist.
However, the left hand leaves the bill on the table, and turns over ABOVE
it! The spectators have seen 2 empty hands, so the idea of an extra bill
is shattered.
In the same way you turned the hands palm up, turn them palm down, allowing
you to steal away the bill, and ditch it at your leisure.
Oh, and for all of you concerned with sanitation, and the use of saliva,
that too can be alleviated. Just have an icy cold beverage with you. Now
rather than licking your hands to get enough moisture on the bill to
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adhere, just take a sip of your drink; the condensation on the outside of
the can/bottle/glass is more than a suitable replacement for the saliva.
As well, taking a sip of your beverage can often times be more natural and
innocent in appearance.

AQUATIC
EFFECT: The agent again finds himself at a house party, and is asked to
redefine the onlookers reality. With little hesitation, he asks for a
bottle of water, and a penny.
The agent removes the cap from the water bottle, takes a sip, and recaps
it tight. He then removes the label, to ensure a crystal clear view of the
proceedings.
Taking the penny, the agent slowly, and visibly passes the coin inside the
bottle! The witnesses are instructed to look closely, ensuring that the
penny really is inside the bottle, and that the agents hands are empty.
Just as slowly, and just as visually, the agent then removes the coin
through the bottom of the bottle!
Offering to do it one last time, the agent lays the penny on the table,
and slowly brings the bottle down onto the penny, where the penny is seen
to visibly pass into the bottle, which is then immediately handed to a
spectator to examine.
METHOD: I cannot speak highly enough about this effect. With so many coin
in bottles being released, I was hesitant to release this one. However,
after much thought, and many requests, I have decided to publish this
effect here for the first time EVER.
Like much of my material, this requires a little something extra. But,
like much of my material, this little something extra is so common, you
probably have what you need within arms length.
What do you need?
An extra penny, and a small ball of magicians wax, about the size of a
small pea. Stick the penny to the wax, and stick the wax somewhere easily
accessible, I often just stick it gently to another coin in my pocket.
Ask for a bottle of water. As someone is getting you a bottle, steal the
penny and wax, and just hold the penny and wax loosely in your left hand.
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Once you get the water, remove the cap, and drink some. You need the
bottle to be and 2/3rds full.
As you are talking and drinking, stick the penny to the bottom of the
bottle, right in the center, on the plastic nub. With your left fingers,
slide the penny off, and into your hand, leaving the wax on the bottom.
Take the cap with your left hand, and load the penny inside. You will
notice that most water bottles have a ring inside the cap, which just so
happens to be the same size as a penny. This will help keep the penny in
place during the next sequence.
Hold the bottle at roughly a 45 degree angle, and screw the cap back on.
Because of the angle of the bottle, and surface tension, the penny will
stay stuck in the cap. However, for this effect, we need the penny at the
bottom of the bottle
Several things are going to happen at the same time, so pay attention
You will start to tear the label off, by placing your finger behind the
label, and tearing down. As you do, turn the bottle vertical, just long
enough for the penny to fall from the cap to the bottom of the bottle. Due
to the noise of your finger tearing the label, and running down the side
of the bottle, the sound of the penny falling will not be heard. As well,
because your hand is moving down, it covers the penny from being seen as
well.
Throw the label away, and holding the bottle at a 45 degree angle, shake
it just enough so that the penny is lying on the side of the bottle, on
the bottom.
Turn the bottle vertical, and twist it, so that you can just see the penny
on your side. Because of the reflective properties of water, the penny
cannot be seen from the front. Fucking cool, isnt it? Be sure to end up
holding the bottle with the right hand, towards the top.
Now you ask for the loan of a penny. Take the penny with the left hand,
and prepare to fry them with one of the most visual penetrations you will
ever come across
Hold the penny between the left thumb and forefinger, broadside to the
audience. Bring the left hand in front of the bottle, and slowly bring it
back towards the bottle. As you do, you allow the penny to tilt back, and
balance on the left thumb.
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Once your left hand meets the bottle, the fingers cover the front of the
bottle, right at the bottom, as if they were pressing the coin against the
bottle. At the same time, your left thumb drops down about an inch, and
back about an inch, and then rises about an inch, pressing the penny into
the wax. At this moment, the right hand pivots the bottle, so that the
inside penny rolls around to the front of the bottle, hidden behind the
fingers. Immediately spread your fingers, and remove the left hand,
showing the coin inside the bottle, and the left hand empty.
The coin on the bottom of the bottle is hidden in a similar fashion to the
way the interior coin was hidden; the refractive properties of water,
combined with the fluted nature of the bottle renders the penny invisible.
Allow the spectators a good look at the penny in the bottle, and get ready
to remove it.
To remove the coin from the bottle, you essentially perform the above
sequence in reverse.
Your left hand approaches the bottle from the front, fingers in front, and
thumb secretly going underneath. Your left thumb slides the bottom coin
forward, while the right hand tilts backwards, rolling the inside penny
back to its original starting position. Once the inside coin is hidden
again, move the left hand forward, flipping the penny into view. Done up
to speed, it really looks as though you simply plucked the coin from
inside the bottle; it looks surreal.
Flip the coin in the air, and offer to do it one last time. Lay the coin
on the table, and hold the bottle a few inches above. Bring the bottle
down, directly onto the penny. Do so with a little bit of force. You dont
want to slam the bottle down, but you do want to hit the table with enough
force to pop hidden coin into view.
What happens here is the wax on the bottom of the bottle picks up the
tabled coin, while the force of bringing the bottle down pops the hidden
coin into view, making it look like the coin just jumps inside the bottle!
At this point, all that is left to do is steal off the wax and penny from
the bottom of the bottle, while you hand the bottle out for examination.

ICED UP
EFFECT: The sensory assassin is commissioned to eliminate a groups sense
of reality by demonstrating his control over the elements.
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After showing off his command over physics by performing Aquatic, the
assassin decides to display his command over the elements, and grabs
another bottle of water.
The performer takes a sip, and the audience can clearly see the refreshing
liquid inside. Commenting that he likes his water icy cold, the magician
gently blows across the bottle, where it is seen to freeze solid!
This iced up bottle can be examined by all present.
METHOD: As many of you know, I have been enamored with the concept of
freezing or boiling water for some time now. I published two of my earlier
attempts in Explicit Content, under the titles Glacius and Elemental.
This effect, Iced Up represents my latest, and favorite, approach to the
plot.
This effect is irreversibly complex, meaning that this is as simple as the
effect of freezing a bottle of water can possibly be. Because of its
simplicity, the illusion relies more on your presentation abilities than
the actual illusion, although the actual illusion is so strong visually,
you may find yourself freezing bottles of water for your own amusement!
The only preparation is that you freeze a bottle of water. Thats it.
However, you do not want to freeze the water solid, rather you want to
freeze it ALMOST solid.
Take a bottle of water, and take a big sip from it, and throw it in your
freezer, checking on it every 15 minutes or so. The reason for taking a
sip is because water expands when it freezes, so you have to adjust for
that expansion. As well, if you dont, the bottle will expand, and not
look proper.
Once the water has frozen solid, but just barely, you can leave it in the
refrigerator for a couple of hours before you present this.
When you are ready, go to the fridge, and grab your frozen bottle. Bring
it back to the party, holding it just above the label. The reason for this
grip is to hide the edge of the ice, as well, you want some of the ice to
melt, otherwise, the illusion wont work.
After a moment or two (it doesnt take very long), some of the ice will
melt due to the heat from your hand. Remove the cap from the bottle, and
take a sip. Often times, I will actually pour the water into my mouth, so
they can see the water coming out of the bottle. Leave some water in the
bottle though; dont drink it all.
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Now cap the bottle, and turn it sideways, and allow the audience to get a
clear view of the bottle. This is a KILLER illusion! Because of the little
bit of water in the bottle, the block of ice forces the water up the sides
of the bottle, between the ice and the bottle, creating an impromptu magic
milk bottle. The water sloshes around like it should, and because of the
sloshing water, and the shape of the bottle, the block of ice is rendered
INVISIBLE! Hows that for a crazy illusion?
To reveal the bottle as frozen solid, slowly turn the bottle vertically.
If you drank enough of the water, when vertical, the water line should be
behind the label, effectively vanishing the water. And because the water
is no longer hiding the ice, the ice becomes visible! Blow across the
bottle, and slam it on the table, making a loud Thud! This creates not
only a visual illusion, but an audible one as well. The audience can see,
AND hear the solidity of the ice.
Allow the spectators to examine the bottle, and make sure the ice is the
real deal.

EXCISED
EFFECT: The magus decides to try his hand at medicine. Asking a young
lady present to come forward and witness the demonstration up close, the
performer asks to borrow her necklace, which she reluctantly gives up.
Standing right beside her, so she can ensure nothing funny is going on,
the magician tilts his head back, and slowly lowers the young ladys
necklace into his mouth, and down his throat!
Gagging slightly, the magician swallows hard, and opens his mouth; the
necklace isnt there, he really did swallow it!
The young lady looks distressed at the loss of her necklace, but the
performer assures her that it is safe.
He then slowly lifts up his shirt, exposing his bare stomach. With
obviously empty hands, he slowly begins to dig into his stomach! A single
bead of blood trickles down his abdomen as he searches around his innards.
Suddenly, he stops, and slowly begins to pull something from he belly.
Inch by agonizing inch, the young ladys necklace is pulled from the
performers stomach, glimmering ever so slightly, and dripping with blood.
Once the spectators necklace has been completely excised, the performer
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reveals that
unharmed!

his

stomach

is

somewhat

bloodstained,

but

absolutely

After appropriate cleansing procedures, the young lady is given back her
necklace, but she is reluctant to put it back on. Can you blame her?

METHOD: This concept is as old as psychic surgery itself, all I have done
is given it a modern magical facelift. Like all the routines presented in
these notes, this is dead simple. The method is simple, the illusion is
strikingly visual, all that is required is some acting ability on your
part.
All you need to perform this macabre demonstration is a thumb tip, a
couple of cotton balls, and some stage blood.
I like to dilute the stage blood slightly, as it can be quite thick, and
can stain skin. By diluting it, you will get more volume, and less chance
of staining your skin.
Place the cotton balls in the thumb tip, pressing them right into the
tip. Now carefully pour some stage blood into the tip as well, completely
saturating the cotton, without staining the tip. You want just enough
blood to saturate the cotton, and no more; you dont want the blood to drip
out prematurely.
With the thumb tip in your pocket, find a girl willing to part with her
necklace for a short time, and instruct her to come stand next to you to
witness the entire thing up close.
Ask her to remove her necklace, and as she is doing so, steal the thumb
tip from your pocket, on your left thumb.
Take the necklace from her, holding it between the thumb and first finger
of each hand. This creates a very clean display of empty hands, while
making the necklace seem much longer/larger than it actually is.
Drop the right hands grip on the necklace, allowing it to hang from the
left hands grip.
Tilt your head back, and raise the left hand so the necklace is hanging
above your face. Lower the necklace briskly, as if you were trying to
lower it into your mouth, but miss, allowing the chain to fall down your
chin. The second your left thumb comes close to your mouth, stick it in,
and steal off the thumb tip.
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Raise your hand again, and lower the chain slowly into the thumb tip in
your mouth, until the whole chain is in the tip. Immediately stick your
left thumb into the tip, and steal it out.
Gag slightly, and then turn to face the audience and swallow hard, as if
you were choking down the necklace.
Open your mouth to show the necklace isnt there. Now for the gory part
Show your hands empty. This is standard thumb tip fare, so I dont feel
the need to explain how. Slowly pull your shirt up, exposing your stomach.
Feel around your midsection for a moment or two, and then stop just a hair
above your belly button, and leave your right hand flat against your
stomach, as if you were pushing or holding something in. This would
probably hurt, so act appropriately.
Slowly bring your left hand towards your right, making sure it is seen
empty the entire way, and stick your left thumb and forefinger underneath
the right hand, leaving thumb tip there, and slowly removing the necklace.
With a slight pressure as you remove the thumb tip, you can cause the blood
to start flowing. Right before you remove the left thumb, jam it is
deeper. That will squeeze out some blood, as will the pressure from the
right hand.
When you start to remove the necklace, make sure to pull it STRAIGHT
FORWARD, away from you, towards the audience. If you pull it out sideways,
the illusion is destroyed. By pulling it out perpendicular to your body,
the illusion is that your right hand is holding the skin in place, and
because of the blood, and the how you remove the necklace, they will swear
they could see the necklace tearing its way through your flesh!
Once you have excised the necklace, place it either in a glass of water,
or on a paper towel, anywhere, just dont hand it directly to the
spectator; the least you can do is clean it for her first.
After you have placed the necklace aside, bring your hands together, and
steal the tip back on the left thumb, and slowly pull the hands apart,
revealing your stomach as unharmed.
Clean the spectators necklace, and give it back, if she will take it
One bit of advice on this illusion; PLEASE pick your spectator carefully.
This is a real heavy effect, for such a simple method. Due to the graphic
nature of the illusion, as well as the emotional hook of using the
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spectators necklace, this effect can often times be too much for a lot of
audiences. Please use discretion.
Finally, if you want to make the effect a little more socially acceptable,
use your own necklace, rather than a spectators. It may diminish the
effect slightly, but you also wont have a spectator suing you because you
gave her A.I.D.S.

FU2
EFFECT: This could be the LAST WORD in T&R card effects, check this out:
A deck is BORROWED, and a card is selected and signed. The deck is placed
aside, and the card is slowly, and openly folded and torn into four
pieces. The hands are unmistakably empty during this entire process. The
pieces are shown to be separate and individual. Two of the pieces are
placed in the lips, and attention is drawn to the two remaining pieces.
The two pieces are touched together, and visibly melt back together! One
of the pieces is taken from the lips, it too is visibly restored, as is
the final piece! The card is immediately handed back to the spectator to
keep!
NO bluffs, the card is examinable! NO discrepancies! No prep work of any
sort, do this with a BORROWED deck!
This is awesome! The first truly IMPROMPTU piece by piece T&R Card effect
ever! This very well could be the LAST WORD in T&R Card effects!
INTRO: I developed the original Fusion over 10 years ago, but only chose
to release it 2 years ago, but even with the many methods available, it
was still well received. If the original was so good, why create another?
The answer is simple, like it or not, my performing circumstances changed.
I wanted to be able to do the effect spontaneously. So I went back to the
drawing board. In trying to improve upon the original, I developed a
completely new beast.
As with all effects, this does have its drawbacks, and rather than try to
hide them, I will address them up front.
There the only two drawbacks that I can think of, but they are really not
an issue when put into perspective. FU2 IS more difficult than Fusion, but
the hours of practice are well worth it. The face of the card CANNOT be
shown during the restoration phase, but it is not necessary. The audience
knows it is their card, so why prove the obvious? As well, FU2 was designed
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to be direct and to the point. No extraneous moves or actions. I just
wanted to be able to tear a card and restore it, not juggle the pieces
during the whole thing.
One last thing before we get into the thick of things, Gared Crawford has
an amazing T&R Card called UnRipped, which is similar to FU2 in some
aspects. Gareds effect is not impromptu, but definitely worth a look. It
is completely unorthodox in its structure, and is a must have in any card
mans repertoire.
METHOD: Be prepared to go through a lot of cards learning this. While not
ridiculously difficult, the second phase will take some time to master.
Oh, and as is standard fair for me, all directions are from a left handed
persons perspective. Righties, get a mirror.
PHASE 1-THE SELECTION: The selection of the card is a very simple matter,
but is important to the routine nonetheless. If you can, borrow a deck.
If not, no big deal, you can work this in anywhere in your routine.
Spread the pack, and have someone touch the back of a card. They DO NOT
remove it. Openly cut the card to the top of the deck, and do a double
lift, displaying the second card from the top as the selection. Deal this
card onto the table, or any similar surface, and slide it towards the
spectator, wrist killing the deck as you do so. The sliding of the card
is perfect cover for this. With your other hand, pull out a sharpie, and
hand it to the spectator to sign their card.
After they have signed the card, take it back, and place it face up back
onto the deck, directly over the hidden face up card. Immediately remove
BOTH cards as one, blowing on the face to dry the ink, as you do so, place
the deck aside, as it is no longer needed. The whole thing only takes a
few seconds from the selection to the placing of the deck aside, and it
looks very innocent and fair.
PHASE 2-THE FOLDING: You should be holding a double card, face towards you
in biddle grip in your left hand. You will now fold the card FACE OUT
LENGTHWISE. As you fold, try to keep the cards long edges hidden behind
the right fingers, as they do tend to spread a bit. Make the fold as exact
as possible, and crease firmly.
Open the card(s) up, face to the audience, and fold the card again, this
time FACE OUT WIDTHWISE. As before, try to hide the edges, this time the
short edges, behind the right fingers as you fold. Just as in the first
fold, make the fold as exact as possible, and crease firmly.
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Both of these folds are only prerequisite folds. They are not really
necessary, but they make the next two folds MUCH EASIER.
Open the card again, this time BACK OUT. Fold the card in half LENGTHWISE.
This is easy because of the crease you already made. Now, open the card,
but only the OUTSIDE CARD. The face card remains folded in half
LENGTHWISE. The face card should be folded in half lengthwise on the left
side of the card, folded edge in.
Fold the card BACK OUT WIDTHWISE, an easy matter, because of the creases,
but take care, as you are also folding the face card into quarters. If your
grip is not solid, the face card may spring out. You will have to cover
the area where the quarter card is, as the edges will peek out. Open the
card again, but only the outer card, the original face card remains folded
in quarters, in the upper left quadrant of the outer card, which is held
horizontally. The long edges running left to right, short edges up and
down.
It is a tricky thing to get down, and quite possibly the hardest part of
the entire routine, but the heat is not on you yet, so play it cool. The
entire sequence only takes about 20 seconds at most, and because your
hands are seen empty throughout, all seems fair.
PHASE 3-THE TEARING: Holding the folded selection in place with the left
thumb, tear the card in half, WIDTHWISE. The forefingers of both hands now
reach to the upper, inner corners of their respective halves, turning both
halves 90 degrees, so that the rough edges are facing UP.
The right hands piece goes BEHIND the left hands piece, and as it does,
the left thumb folds it in half. You should now have a half card, rough
edges up, with the folded selection behind, on the left side, and the
half card, folded on the right side. Tear down the crease, in between the
folded selection, and the half card. Place the left hand pieces IN FRONT
of the right hand pieces, and spread them in a small fan. You can now count
the pieces one at a time, just be sure not to disrupt the order or
orientation.
Now take the two quarter pieces in the left hand, and the folded
selection, and the folded half card in the right hand. As you rub the two
loose pieces on your right sleeve, simply turn the cards in the right
hand around, the folded half card should now be in front. Rub the folded
selection and half card on the left sleeve, and bring the pieces back
together in a fan, left hand pieces going in FRONT.
PHASE 4-THE RESTORATIONS: Take the two middle pieces (a loose piece, and
the half card) in the right hand, as you place the other two pieces (a
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loose piece, and the folded selection) in your lips.
Grip the loose piece in the right hand between the thumb and first finger,
palm out, so the piece is broadside to the audience, the rough edges along
the first finger, and the other rough edges facing left. Your left hand
grips the half card by pinching the outer flap between the middle finger
and thumb. The first finger is running along the top edge, hiding the
flap behind. Remember, the thumb goes INTO the fold.
Bring the hands apart, showing the two pieces. Now bring the hands
together SLOWLY. Once the edges touch, push the flap over with the left
thumb. The flap goes BEHIND the loose piece.
Immediately re grip the card, so that the fingers and thumbs of both hands
are pinching the card along the top, at both corners of the loose piece
in front. Now by pivoting the card into the right hand and out again, you
can finger palm off the loose piece in the right hand.
Turn the half card 90 degrees so that the rough edges are facing LEFT. With
your left hand, reach up to your mouth, and grab the folded selection.
Make sure the loose edges are to the left, and the left thumb goes into
the fold, with the first finger lying across the top edge as before.
Again, bring the hands together slowly, and once the pieces touch, push
the rear flap over with the left thumb. Your right thumb will have to get
out of the way for this. Simply move the thumb down, and then back up after
the flap has passed. Press the flap against the half card.
A couple of fine points here, you may want to hold the half card against
your right middle finger. This will aid in keeping the half card, and the
selection square during the restoration. As well, after the restoration,
fold the selection outwards, towards the audience slightly, this will aid
in keeping the two cards flat against one another.
For the final restoration, get your RIGHT thumb into the fold of the
selection, as your left hand goes for the final piece. Bring the final
piece down, holding it between the thumb and first finger of the left
hand, but more towards the base of the finger, in preparation for a finger
palm. As you show how the piece will fit, extend you left fingers, and
finger palm the loose piece. At the same time, your left thumb unfolds the
selection, then folds it slightly forward, along the widthwise fold, this
helps shield the fact that there is still a half card in front of the whole
one.
Your left hand now folds the card in half lengthwise, and IMMEDIATELY
unfolds it, face out, but keeps the half card folded in half. The left hand
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immediately slides its finger palmed quarter behind the complete card, to
be held with the half card. All the pieces are then slid over into the
right hand finger palm as the card is handed out.
Reach for the pen with the right hand, and place it back into your pocket,
ditching the pieces as you do.
FINAL THOUGHTS AND RAMBLINGS: I know some of you will think this was a
bitch to learn. Well, if it is any consolation, it was a bitch to write,
as well!
If you do have the patience to learn this, you will be rewarded with one
of the most powerful card effects in existence that you can do anywhere,
any time, with any deck! You can really mess with your magic buddies who
dont know this by doing it with their deck.hehehehe.

Taste-icular - With Josh Nekrep

EFFECT: Attempting to gain entry into a small group of buxom foes, the
agent is shot down by what seems to be the leader, or mother hen of the
group. The agent knows what he must do. His confidence steadfast, he knows
he must perform a Jedi mind trick of epic proportions; he is determined
to score.
Noticing one of the ladies just bought a bottle of water, he springs into
action.
He first has her open her water and take a sip. Nothing exciting here, it
is water. Again, he instructs her to take a sip, but this time, not to
swallow, rather just swish it around in her mouth.
Now the mind tricks begin. The waters flavor slowly begins to transform,
becoming minty! The agent now instructs our lovely participant to spit
into a glass, where she, and the entire group, can see that the water is
now MOUTHWASH! Left with a stunned look, not to mention minty fresh
breath, the victim no longer rejects the agents advances, and starts
making a few advances of her own!
Now confident he has the gang of foes in control, he goes for the BIG
score.
In an effort to prove his prowess to the rest of the ladies, the agent
takes the bottle of water, and VISIBLY changes the remaining water to
mouthwash as well!
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What little resistance remains dissipates quickly, and the agent promptly
corrals the gaggle of ladies back at his place.
His performance dominating, a Purple Head medal will no doubt be awarded
to the agent.
METHOD: This effect really embodies this document. Taste-icular is elite
magic of the highest caliber. I cannot speak highly enough about this
effect.
Now, before teaching you this effect, I should address the history.
Morgan Strebler developed an effect similar to mine; in fact, it was
Morgans routine that got my creative juices flowing! Morgans effect,
Taste Conditions was the inspirational source material for Taste-icular,
however, the effects, and the methods, are miles apart. Good friend, and
consummate professional, Josh Nekrep had tremendous input on this effect,
which would not be in existence without his clever thinking. I owe a debt
of gratitude to Josh. Thanks buddy.
I should also point out that the idea of using taste as part of an effect
can be traced back to Michael Webber, who caused flavor between to pieces
of gum to transpose. Ted Lesley also performs an effect where water
transforms into a thought of drink.
One last thing; some people asked where the title Taste-icular came from.
Simply, the illusion involves the sense of taste, and the method requires
balls!
Before you can perform this illusion, you will need to obtain a few
things, and then assemble your gimmicks, or taste-ticles.
The items you will need are:
-Two extra bottle caps
-Super glue
-Scissors
-A sponge or cotton balls
-Pure peppermint extract
-Green food coloring
I know that seems like a lot of items, but bear with me, it is SO worth
it!
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Start by cutting your sponge, or cotton balls, into small, inch circles.
You need two of them; one for each cap.
Now with a drop of Super glue, glue the sponges inside the caps. You now
have two caps, each with a small piece of sponge glued inside.
Take the mint extract, and completely saturate the sponge in cap one. Be
sure not to spill, and wipe the sides of the cap off once you have filled
the sponge; you dont want to prematurely expose the mint.
Now take the other cap, and saturate its sponge with green food coloring.
Dont actually saturate the sponge, rather simply add 5-10 drops.
There you have it; TASTE-ICLES! With these little fellas, you will be
ready to perform at the drop of a dime!
NOTE: Josh also adds a drop or two of pure mint essence to his flavor cap
as well. This is a homeopathic medicine and can be found at most health
food stores. Josh feels the essence adds a deeper mint flavor. At $20
bucks an ounce, however, I have opted to eliminate it from my
performances; yea, I am a cheap bastard!
While these caps are ready for performance, they are not properly prepared
for transportation. Follow me.
Take a playing card, and cut two squares, just large enough to completely
cover the caps opening. Completely cover one side of the card with
repositionable adhesive. This is the stuff that is on the back of Post-It
notes, and is available in a glue stick.
Stick these to the openings of the caps, and on the color cap, trim off
the corners, just so you can differentiate the two caps by feel alone in
your pocket.
The last bit of preparation is to put a drop of food coloring into the
bottom of a clear glass or cup.
With your taste-icles in your pocket, and cup in hand, you are ready to
go.
NOTE: I strongly recommend purchasing a couple of small vials, with
eyedroppers. Fill one with flavor, and one with color, and it will make
reset a breeze!
Approach a group of people, preferably a group of attractive young ladies,
and either introduce an unopened bottle of water yourself, or if possible,
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sean fields 1337 notes

borrow a bottle of water.
Have one of the girls examine the bottle, as she is doing this, remove the
cover from the flavor cap, and finger palm the cap.
Have the young lady remove the cap, which you take from her as you instruct
her to take a big sip of water.
Perform a shuttle pass with the caps, switching out the real cap for the
flavor cap. You go south with the real cap, and ditch it in your pocket.
This goes unnoticed, because all attention is on the girl and the water;
the cap is way above board.
Take the bottle back, and ask her what it tasted like, as you screw the
flavor cap onto the bottle. After she has finished describing the taste
of the water, instruct her to take another sip, but not to swallow, rather
just swish it around in her mouth. As you are instructing her on what to
do, gently shake the bottle; this mixes the mint into the water, infusing
it with a subtle mint flavor.
Remove the cap, and hand her the bottle to sip from. As she is doing this,
you switch the flavor cap for the color cap, just as before.
Take the bottle back, and screw the color cap on. Now begin to describe
the taste of mint, asking her if she can notice the slow transformation
from water to mouthwash; after about 10 seconds, she will be nodding her
head feverently!
Explain that this is why you told her not to swallow, and briskly instruct
her to spit it out, and bring the color cup up to her mouth. She cant
notice the drop of color because of its position in relation to her eyes.
Now when she spits out the water in her mouth, it will immediately mix with
the color, creating the illusion that it was mouthwash that came out of
her mouth! This really is surreal.
Allow a few moments for the spectator to fully grasp what just occurred.
Address the rest of the mob, explaining that what this young lady just
experienced was very personal. Offer to do it again for the audience at
large. Pick up the bottle, and simply say Watch. Give the bottle one
good up and down shake, which will mix the color in, creating a STUNNING
transformation from water to mouthwash!
Remove the cap, and hand the bottle to someone to examine. As they are
looking the bottle over, shuttle pass as before to switch the color cap
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sean fields 1337 notes

for the original cap, which you then give to the person with the bottle.
This illusion is so complete, it is impossible for a spectator to reverse
engineer, or even fathom a possible solution. What was a borrowed bottle
of water is now mouthwash. The participant has minty fresh breath. The
bottle looks, smells, and tastes like mouthwash. For all intent and
purposes, it IS mouthwash.
This is an amazingly powerful
discretion when performing.

routine,

so

please

use

caution

and

1337P33K
EFFECT: None. This is not an effect, rather it is a utility. This could
be one of the BEST billet moves in existence. This is 1337P33K.
METHOD: For my billet work, I use business cards. I know many mentalists
prefer to use pre made billets out of index cards, usually pre folded. I
prefer business card because they can be borrowed, and they have a natural
organic look and feel. Business cards do not look or feel like a prop.
To begin, borrow a business card. Bring out a pen, and tell the spectator
to think of someone close to them.
As you say this, fold the business card into quarters, but really crease
the card, back and forth along each crease. This is integral to the
operation of the peek.
Tell the spectator to write the name of the person they are thinking of
across the back of the card, in big bold letters, and fold the card back
up. Turn away as you say this, so you cannot see what the spectator is
writing. There is a little bit of linguistic deception at work here.
Kenton would call them Wonder Words. Kenton kicks ass.
For those of you familiar with NLP or Wonder Words, you will recognize
some of the concepts outlined above. For those not versed with either
linguistic system, go now, and study. Buy Wonder Words. Go to the library
and take out books on NLP. Proper understanding of the language we use can
and will improve your performances exponentially.
Once they are done, turn around to face them, and extend your hand. The
spectator will ALWAYS hand you the card, which you refuse, and say No,
no. I want the pen; that is how I got it! It is a stock line, but it works
so well here. If you have read X-Rated, and read my explanation of North
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sean fields 1337 notes

of the Border, you will already be familiar with my billet theory, which
also applies here.
Put the pen away, and extend your hand again, this time taking the card.
Now it is time to perform the actual mechanics.
With the card folded in quarters, hold it in your right hand, loose edges
on the right and the bottom, between the thumb and first and second
fingers. Show both sides of the card, explaining that you cant see
through the card.
Here comes the hard part.
Adjust your grip so the card is deeper in your hand. The card is still
held in the same fashion, just deep enough so the far left edge is in line
with your fingertips. Hold your hand palm up so the card is visible.
Raise your hand to chest height, turning in at the wrist, so the card is
parallel with your body. As you do this, several things happen. The first
and second fingers clip the card for a moment, just long enough for the
thumb to slip under the top layer, now pinching the card between the thumb
and middle finger, with the first finger contacting the outer left corner.
The entire sequence takes less than a second, and is completely covered
by the movement of the hand. Now for the actual peek.
Your left hand comes in front of the card, as if to take it. As soon as
the left hand completely obscures the card, pinch your right thumb and
first finger together, while curling back the rest of the fingers, so they
are not touching the card. THE CARD WILL POP OPEN INTO THE LEFT HAND! This
give you an unmatched, unobstructed clear view of the information! If you
pinch too hard, the card will open up fully, which you dont want. You just
want the card to open to at most, a 90 degree angle.
Take the card with the left hand in a rough finger palm, and separate the
hands. The idea is that you want it to look like you just passed the card
from hand to hand. Now close your left hand into a fist; the card will
AUTOMATICALLY FOLD BACK UP!
Now this probably reads a bit weird. Just reread the description, but
understand what it is supposed to look like:
Laura, do me a favor, think of someone close to you. ANYONE. Just make
sure that they are not here, and that I couldnt possibly know this
person. Have you done that?
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sean fields 1337 notes

Great. Laura, I want you to write this persons name across the back of this
business card, in big bold letters, then fold it back up. I will turn my
back as you do this.
Have you finished? Perfect. No, no, I meant the pen; thats how I got it!
Great, now before we go any further, I want you to realize that I didnt
see what you wrote down. The card is not transparent, so I cant see what
you wrote down at all, correct?
Alright, I want you to hold the card in your hand like this, so there is
NO way I would be able to sneak a peek. Now, you are probably wondering
why I had you write anything down at all. The reason is simple. The reason
is proof. Proof of my success, OR failure.
That is pretty much my patter. The peek occurs on an offbeat, as you are
transferring the billet from hand to hand, which renders the peek
invisible. As well, the angles are great. Your hands cover most of the
actions. The only rough angle is your extreme right, but by turning your
body to face right that issue is eliminated.
While you could simply perform the peek as outlined above, as a straight
mind reading demonstration, which I often do, I felt a full routine that
utilizes the peek would be in order.

ULTIMATE EPIC
EFFECT: Three spectators are invited to participate in this latest
demonstration of the agents otherworldly abilities.
The spectators are each instructed to think of something, and write it on
the back of a business card. The first is to think of a person, the second
a place, and the third spectator and activity. This all occurs with the
agents back turned.
Once finished, the agent turns around, and instructs the spectators to
hold their cards in their fists.
The agent now brings out three envelopes, explaining that each contains
one of his business cards, which he will write his thoughts on, and seal
inside the envelopes.
Staring at the first spectator, the agent hastily writes a name down on
the card, and seals it in the envelope. Committed to his thought, he asks
the first spectator who he thought of. Lets assume he says Ashton
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sean fields 1337 notes

Kutcher. The agent writes #1 Ashton Kutcher on the back of the
envelope, and moves on.
The agent repeats the same sequence for the other participants, who say
Acting and Inside a paper bag respectfully.
The agent now hands each spectator their respective envelope, and asks
them to open them to check his predictions. Each one is bang on! The
audience begins to applaud wildly, whereupon the agent instructs them to
calm down.
Drawing attention to a large envelope that has been stuck high on the
wall since before the trick began, the agent requests that one of the
spectators retrieve the envelope, and bring it back on stage.
With the envelope on stage, the agent explains that he had written
something down earlier, for no particular reason. He explains that
although it didnt make sense at the time, it is completely clear now.
The spectators open the envelope, and unfold the paper inside, on which
it is clearly written:
I DONT THINK ASHTON KUTCHER COULD ACT HIS WAY OUT OF A PAPER BAG!
The entire audience now erupts in uncontrollable cheers and applause, and
the agent slowly walks away, blending in with the populous, ever ready to
assassinate unsuspecting audiences perceptions of reality. Yea, hes a
bad ass.
METHOD: Like all of the illusions found in the 1337 notes, this effect
packs small, and plays huge. This effect can play for 4 people, or it can
play for 40,000 people. And again, like all of the 1337 secrets, this
relies less on technical skill, and more on subtleties and presentational
skill.
For as long as I can remember, I have seen magicians perform Mental Epic.
And for as long as I can remember, I have HATED that trick. The prop, the
Mental Epic board, looks like a prop, and is immediately suspect. As well,
I have always felt like the momentum, and subsequent effectiveness, is
always compromised on the last thought.
Person one THINKS of a number. Person two THINKS of an animal. Person
three SELECTS A FUCKING CARD?! Seriously, the first two people get to
THINK of any one of an endless number of things, and the third person has
to SELECT one of only FIFTY TWO items. Regardless of WHAT it forced on the
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sean fields 1337 notes

third spectator, it is ALWAYS anti-climactic.
Another thing I have always disliked about Mental Epic is the lack of a
real climax. At the conclusion, the performer is correct three times in a
row; impressive, yes, but not POWERFUL. There is no punch upon revealing
your third prediction.
Enter Ultimate Epic. This illusion eliminates any and all unusual
looking props. This illusion eliminates the need for a force. Finally,
this illusion has a legitimate, incredibly powerful climax.
This is a solid lesson in routining, audience management, and performance
chops. There are no difficult techniques in use, rather this routine
relies on your ability to convey an alternate reality to your spectators.
Before you begin, you will need a few things:
-5 pens
-3 envelopes
-6 business cards
-1 large envelope
-1 large piece of paper
-1 friend
-Some magicians wax, or putty
Everything above probably read just fine, up until that 1 friend line.
Yes, an assistant IS required to perform the routine as described, but in
a very subtle way.
Place 3 business cards into the 3 smaller envelopes, and place those in
your pocket along with the other 3 business cards, and 4 of the 5 pens,
your assistant gets the remaining pen.
Take the large envelope, and fold the flap down, but DO NOT SEAL IT.
Rather, holding the envelope flat, sign your name across the flap and the
envelope. This adds a subtle layer of deception later on in the routine.
Place the large piece of paper inside the large envelope, give this to
your assistant to hold on to, and you are ready to go.
Make sure your assistant is hanging out at the back of the room, and make
sure a chair is within his reach.
Bring 3 people up on stage, and have them each sit down on a chair, facing
the audience. Hand each person a business card, and a pen.
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sean fields 1337 notes

Instruct that person 1 to think of a person, person 2 to think of a place,
and person 3 to think of an activity. Truth be told, they can think of
whatever they want, but with those 3 thoughts, a lot of humorous outcomes
are possible.
Instruct all 3 spectators to write their thought on the back on the
business card, and fold it up. As you are saying this, you take person 3s
card, and gesture across the back, and fold it up in preparation for
1337P33K. You are using person 3 as an example of what they are to do,
while in fact, this is just a cover for preparing to perform the actual
mechanics of the routine!
Give person 3s card back, and turn around, allowing all 3 people enough
time to write their thoughts down. When they are done, turn back around.
Take person 3s card from them, and hold it up to the light, instructing
the other participants do the same, making sure that the card is not
transparent, and there is no way for you to know what each person thought.
Now perform 1337P33K, as you instruct all 3 spectators take their card and
pocket it, just in case proof is required later.
At this point, your work is done. You know what person 3 is thinking,
putting you one ahead before the effect has actually begun!
Bring out the other three envelopes and your pen and walk over to
spectator one. The envelopes are stacked. Take the business card out of
the top envelope, and jot down person 3s thought, as you stare at person
1. Replace the card in the envelope, and seal it. Perform a double
turnover with the envelopes, and ask person 1 what they were thinking of,
explaining that you are committed, your prediction is sealed in the
envelope. Lets assume person one said Criss Angel. Write Criss Angel
on the back of the envelope (which is actually the 2ND envelope from the
top; remember that double?) Turn the double face down, and move just the
top envelope to the bottom.
You are now going to repeat the same sequence twice more.
Move over to spectator 2, take the card out of the top envelope, write
person 1s thoughts down, seal it, double turnover, and write person 2s
thought on the outside, again, lets assume he thinks of Paris. Again,
turn the envelope face down, and move just the top one to the bottom.
Perform the same sequence one last time for the third and final spectator.
Lets say this spectator says Belly Dance.
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sean fields 1337 notes

Now, the envelopes are not in 1 2 3 order, they need to be displaced. I
usually just walk over the spectators, and hand them the correct envelope.
Nobody notices.
At this point, I like to reiterate what has occurred. Each person thought
of something, and I tried to tune in to their thoughts, writing my
predictions down, and sealing them away. I stress the fact that everything
is in their hands, and always has been. That is simply not true, but
believe me, they believe it is.
The other reason to reiterate the proceedings is to give your assistant
at the back of the room enough time to write an accurate prediction, seal
it in the envelope, and tape it high on the wall. In our case, his
prediction might read:
I dont think CRISS ANGEL has ever been to PARIS, let alone BELLY DANCED
there!
As you can see, depending on the audience, you can get some pretty
humorous images for your final prediction.
If you have a talented friend who can draw, if he is quick enough, he can
draw a humorous cartoon relating to the spectators thoughts.
Here is the awesome part. Because the audience is facing FORWARD, they are
oblivious to your assistants diligent work at the back of the room!
Now, draw attention to the envelope taped high on the rear wall, saying
that the audience might have noticed it on the way in; it has been there
since before the demonstration began. Again, a terrible lie that sails
right by them!
Have a spectator go and retrieve the prediction, and bring it up on stage.
This is why I like to have a chair nearby. It helps your assistant get the
prediction UP, but also aids in the retrieval.
Have the spectator bring it (the prediction) back on stage, and point out
that not only is is sealed, you signed your name across the back to ensure
no tampering. This is not the case; remember you signed the flap before
sealing it? This is why. That minor addition strengthens the illusion
exponentially.
The spectator now opens the envelope, and removes the prediction inside,
and shows it to the audience at large. Read it aloud, and take your bow.
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sean fields 1337 notes

I love this effect, because it can be done ANYWHERE. I have described it
in a formal setting, but as long as you have a friend around, you can do
it on the street, at a house party, anywhere. Just find a place out of the
audiences view where your assistant can write and plant the prediction.
This effect really can play for audiences of just a few people, to an
entire theatre, standing room only.
The envelope sequence I learned from Luke Jermays book 7 Deceptions.
Lukes routine was similar, but completely different at the same time.
I later learned that the envelope sequence can be traced back to Docc
Hilford. Several years ago, I contacted Docc for his permission to publish
this very effect. He declined, stating that he was working on a DVD on this
technique, and that he didnt want my routine out until AFTER his DVD was
released. It never was. Having spoken with innumerable well respected
people, I have decided to publish this effect, as I have been told, on
strong authority, that this illusion, while using Doccs concept, is miles
apart from the original in effect.
Lastly, I should also note that the late Gary Oullette apparently used a
similar concept to mine to achieve the final prediction climax.
Apparently, Gary felt strongly enough about his version, that he sold it
in very limited numbers for $500 a crack. I have never been able to find
any information on Oullettes version, so I present mine here.

EXTRACTION
Agent, you have now become privy to some very sensitive information. I
trust you will keep this document, and all of the information contained,
in the strictest of confidence. Use the weapons given to you in this
document at your leisure, and remember, you are now part of a bigger
organization, one that prides itself on its secrecy and elitism. You are
among the best of the best, take pride in this, and act the part of a 1337
agent.
Fields. Out.

pg 28