fusion
By
Sean Fields
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fusion
Copyright © 2002
All Rights Reserved.
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Forward
Sean Fields is an original.
What higher compliment can one magician pay another in this time when imitation seems to be the rule of the day?
None that I can think of. To be an original in the world of magic requires courage, creativity, and confidence all attributes
Sean holds in abundance. But more importantly, original thinking requires vision: the ability to see beyond what has been
and to reach for something better. And that, more than anything, is what Sean Fields is all about.
Fusion, Sean s first marketed creation, is in itself all about vision, all about looking for a way to build a better
mousetrap and not only succeeding, but excelling. The plot, like most great effects in magic, is simple: a signed playing
card is torn into quarters and then restored piece by piece. Indeed this is an effect that has been explored before. But it s
Sean s handling that makes this not just another pale imitation, but a beautiful work of magic that is a joy to behold and a
pleasure to perform. And, as you are about to discover, a most valuable contribution to the literature concerning this plot.
And for those of you who love this effect as much as I do, and I m confidant that will be the vast majority, rest
assured: Fusion is merely the beginning. There will be many more wonderful creations springing forth from the mind of
this magic original.
In the interim, we can content ourselves with this stunning and immanently performable piece of magic. So enjoy.
Jim Coles
December 2002
Introduction
I have been enthralled with the Torn & Restored Card plot for as long as I can remember. I learned EVERY method that
came out, good or bad. I really got hooked after seeing David Copperfield perform the controversial Torn Asunder on TV.
Of course, being an impressionable 14 year old, I figured  Either this guy is for real, or there is some sort of trick to this
trick! Insightful, huh? I got to working out my own solution to this problem, and came up with the basic principle.
However, at the time, I felt the handling I had was not workable, so I put it on the shelf for a few years. Then about 5 years
ago, I picked it up again, and worked it into the handling within these pages.
Throughout the creation process, I bought every piece by piece restoration I could get my hands on, simply to
compare it to Fusion. Reformation by Guy Hollingworth, Reparation by John Lovick, One Tear At A Time by J.C. Wagner,
you name it, I learned it. I can safely say that what you have in your hot little hands, is a completely new, completely
different approach to this plot.
Some of the advantages are obvious, it does not use duplicate cards or signatures for the basic effect, it does not use
awkward handling of two cards thus making it MUCH easier to learn and perform, and there is no switching cards. Now,
all these advantages came at a price. The price is simple, discrepancies. Now before you flip your lid, and call me all sorts
of mean nasty names, I have one question for you, did YOU notice the discrepancies? The only other thing is, although
it looks like a complete restoration, there is a bluff, and the card is still slightly torn, as you will see. I know in todays
market, that seems unthinkable, but really, it is not. I have carefully designed this effect to work under ANY circumstances.
There are, obviously, more favorable circumstances, but I have done this effect literally hundreds, if not thousands of
times, and have never failed to fry every spectator, laymen and magicians alike with it.
I urge you to take one night, ONE NIGHT, and learn this effect. That is all it takes. It may take you a little longer to
get it performable, but you will have the handling down in ONE NIGHT, if you wish. I have put a lot of effort into making
this effect performable, and even more effort in putting it into print! I really hope you like it, and maybe, just maybe, add
it to your repertoire.
See Ya Around,
Sean Fields
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Effect
Effect
Effect
Effect
Effect
A card is chosen and signed by the spectator. Slowly and deliberately, the
magician folds the card in half lengthwise, then widthwise. Opening the card
up, he then tears the card into quarters, fairly displaying four pieces of the card.
Placing two pieces in his mouth, he just touches the other two pieces together,
and they  fuse together making one piece! The next piece of card is restored in
the same fashion, as well as the final piece. Showing the fully restored card, the
Figure 1-A
magician comments on the creases in the card, which is visibly ironed out! Not
content with just restoring the card, the magician then peels off the spectator s
signature, thus FULLY restoring the card!
Method
Method
Method
Method
Method
To perform this effect you will need a duplicate card, for illustration, we will use
the King of Hearts. Prepare this duplicate with LetraLine (figure 1-A), and place
Figure 2-A
it in the left pants pocket. The LetraLine is an idea of David Williamson, and I
urge you to read his book  Williamson s Wonders for more information on
this preparation.
Now take an indifferent card, fold it into quarters and then tear it in half
widthwise, discarding one half. Place this half card in your right pants pocket
with a sharpie, and you re ready to rock (or rap, if you are like me& ).
Using your very best force, force the King of Hearts on some unsuspecting
Figure 3-A
person. Place the deck aside, and reach into your right pants pocket, and finger
palm the half card, rough edges towards your fingertips, with the card slightly
open, and bring out the Sharpie. Hand the Sharpie to the spectator and have
them sign their name on the card. Take the marker back, cap it, and place it on
the table. Now take the card from the spectator and fold it in half lengthwise,
face in (figure 2-A). Open it up and fold it in half widthwise, face out (figure 3-A).
Open it up, back towards the audience, and get ready, cause this is hard to put
into print&
Figure 4-A
Start tearing the card in half widthwise, but stop halfway down the card at
the lengthwise creases (figure 4-A). Fold the right torn flap down and pinch the
pieces together with your left thumb (figure 5-A) as your right hand loads the half
card over top of right side of the card (figure 6-A). To the audience it looks like
you ve just torn the card, bent and unfoled the flap. With the left hand, pinch the
half card to the whole card, holding it as one (figure 1-B). This sequence is the
exact same as J.C. Wagner s Torn and Restored Card, but here is where things
change drastically.
Figure 5-A
Transfer the card to your right hand holding the cards at the bottom corner.
The left hand folds it s half in front of the right half (figure 2-B), pinching it closed.
Now turn the whole works 90 degrees counter-clockwise, so that the rough
edges are pointing down. It looks to be half of the signed card staring the spectator
in the face. Now fold the entire right half in front of the left (figure 3-B), so a back
is visible. Unfold everything back to the right, except for the back-most piece
(figure 4-B).
What you should have is the chosen card folded into quarters around the
Figure 6-A
right side of the half card. Start tearing the left piece, down the crease, but stop
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about half way. To the spectator it looks like your tearing the whole packet in half.
As you finish the tear, spread the pieces to the left (figure 5-B), using the thumb,
first and second fingers of your right hand. Place the torn quarter on the back of
the packet.
What should show from the front is four pieces of card spread, backs out.
Now take the two loose pieces (the first and the third from your view) in your
left hand. This leaves the signed card in your right hand. If you slide the pieces
Figure 1-B
between your first finger and thumb of both hands (the classic  squiggle flourish),
you can cleanly show what appears to be four separate pieces. Make sure that
you are displaying the four backs to the spectator.
Place the left hand pieces on the table (figure 6-B), or pinch them in your
teeth, and briefly focus on the right hand pieces. The left hand now comes over
and apparently takes one piece, but in actuality you just mime this as the right
thumb squares the pieces up. Take your hands apart, and look at the piece in
your right hand, then shift your gaze to the imaginary piece in your left hand.
Figure 2-B
While all the attention is on your left hand, clip the card at the top edge
in your right hand between your first and second finger (figure 1-C). Slip your
thumb in front of the last piece in the packet, freeing it (figure 2-C). The back
quarter of the card should be completely free from your fingers. Place the last
three fingers of your right hand along the right of the packet. Your index finger
should be along the top to hide the edges. This will show as much of the piece as
possible.
Figure 3-B
Bring the hands together slowly, you are about to perform the first
restoration, finally!
The thumb of the left hand should be pulled away from the fingers, to
allow the freed peice the room required to lever out from the packet. Remember
to keep your fingers closed, as you do not want to tip off the spectator to the
absence of the piece in your left hand (obviously). Once the left fingertips reach
the edge of the card, the right thumb pushes out the piece into the left hand
(figure 3-C). Note to reader: the left thumb does not reach for the piece. This
Figure 4-B
may require some practice. Once the piece has been pushed into the left hand,
the left thumb and fingers pinch this piece and slide back to the left, displaying
the restoration.
Now turn the card 90 degrees clockwise so the torn edges are to the right
(figure 4-C). Turn the card around to face the audience (figure 5-C). The folded
piece should be on the bottom half of the card with the rough edges to the right.
Open the folded corner into the right hand (figure 6-C), behind closed fingers,
and display the card. The left hand now comes over and folds the visible portion
Figure 5-B
of the card in front of the right fingers (figure 1-D), in effect sandwiching the
right fingers between the card. As you remove your sandwiched right fingers,
your left thumb will pinch the sandwich closed. Your right hand will now regrip
this packet at its lower right hand corner. What the audience sees is a display of
both the front and back half of the signed card. What you have effectively
accomplished is the invisible folding of the hidden packet, moving it from the
back of the card to the face, setting up the next restoration.
Pick up the piece from the table (or your mouth) that matches the corner
Figure 6-B
you are about to estore. Display the piece (figure2-D), and as you bring your
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hands together, classic palm it, keeping the fingers tight and the thumb open as
before. When the left fingers reach the edge, the right thumb pushes the piece
into the left hand (figure3-D). Slide the left fingers back to display the restoration.
Turn the card 90 degrees counter-clockwise so the card is vertical with the
final folded piece at the bottom. Grip the card at the bottom with your thumb
between the folded piece and the card (figure 4-D). Pick up the final piece,
display it and classic palm it (figure 5-D). This time you must pinch the remaining
Figure 1-C
free edges together as you remove your left hand. With a little bit of practice
these edges will stick together, making it look like the card is completely restored
(figure 6-D). I am sure, someone, somewhere reading this is freaking out, because
this is a complete bluff. Rest assured, this goes unnoticed.
Turn the card around to display the face. Hold the card in the right hand,
and with the left hand pick up the marker and place it in your left pants pocket.
While there, drop the extra pieces, and palm the duplicate card (remember the
duplicate?). Remove your hand, please (figure 1-E).
Figure 2-C
Comment on the creases, and lay the card face down on the right hand
lengthwise. The left hand comes over with the palmed card as the right fingers
start to fold the signed card in half (figure 2-E). The left hand then drops on the
right, hiding the folded card beneath it. Rub your hands together slightly and
slide your left hand away. You can now display the creaseless card (figure 3-E).
Pick up both cards face towards you with your left hand. Transfer both cards to
your right hand, gripping the cards at the lower corner. Your left hand should
now come and fold the chosen card into quarters (figure 4-E).
Figure 3-C
As you slide the folded card into your left hand to be finger palmed, you
start to peel off the Letraline, which looks like the signature (figure 4-E). Ball up
the Letraline, and put it in your pocket, along with the folded card.
Alternate Ending
If you don t feel like doing the complete restoration, or you just want to present
your spectator with a unique souvenir, try this. Go to your local office supply
Figure 4-C
store, and purchase a package of luggage tags. These are simply a card size
piece of clear plastic, with a laminate flap. They are used for laminating luggage
tags. I bet you already know where I am going. After the final restoration,
introduce the luggage tag, open it, and lay the card on it. Also, place your
business card on the back of the restored selection, and laminate them together.
This is a great souvenir, the local paper still has one I gave a reporter after doing
this effect!
There are countless ways to end this effect, and I have given you two
Figure 5-C
separate endings I use everyday. However, there are times when neither is
needed, and you can just end the effect after the final restoration. This happens
far more often than you think. When I perform this in front of a room of magicians,
for example, they never ask to examine the card, they accept the bluff as fact.
Life is good. So, don t let that bother you. I have NEVER been caught.
Figure 6-C
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Emergency Ending
There are times that you may not have laminate, or the duplicate card prepared,
but you still want to perform Fusion. Well, never fear! This is what I call the
Emergency Ending. I have used it on numerous occasions, and while it seems
like a cop out, or a weak ending, I can assure you, it has never failed me.
This explanation begins after you have restored the last piece. Now, before
Figure 1-D
I explain the ending, I want to make it abundantly clear, that I have never been
questioned on the authenticity of the card. It looks solid, and they can see there
signature, which just a few moments ago, was seen on only half the card, so they,
they being the spectators, accept this bluff as truth. It is a beautiful thing&
Anyway, if they would like to see the miracle, ask them if they have a
picture frame at home. They will most likely say yes. Now, this takes complete
confidence, but trust me. Tear out the  loose corner, and hand them the card
and corner, and tell them to frame the card, with the corner just slightly spaced
Figure 2-D
away, to remind them of this moment forever, or to freeze the mystery in time,
or whatever line tickles your fancy.
This is cool, because you have just eliminated any possible reconstruction
of the effect, in the simple act of creating a unique souvenir for them to keep.
Now, one very important fact; you must make sure you show the card
complete, and let the image of the completely restored card burn into their
mind. That way, it doesn t look like you are trying to hide something. You have
Figure 3-D
shown the complete card, and are simply reversing the process, so they can
have a souvenir of the moment.
I must once again say, I do not have to resort to this very often, I usually
have laminate in my pocket, just in case I perform this effect on the fly. And if I
don t have laminate, I very rarely have to go past the final display. More often
than not, after the final restoration, people shake their heads, rub their eyes, or
just swear, and walk away, so the Emergency Ending is just that. In case of
emergency, break rules. Roll credits.
Figure 4-D
Figure 1-E Figure 2-E Figure 3-E Figure 5-D
Figure 4-E Figure 5-E Figure 6-D
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Thanks
Performance Pics
Thanks go to a bunch of people
who have never heard of me
before, but without them, and
their inspiration, this publication
would have never been possible.
Chris Kenner
David Copperfield
J.C. Wagner
Guy Hollingworth
David Acer
Jay Sankey
Eugene Berger
Ben Harris
Paul Harris
and countless other magic giants
to whom I am eternally grateful
for pushing the art further into the
future, and truly blurring the line
between illusion and reality.
Special Thanks
These special thanks go to those
people who directly influenced
me into publishing this effect.
God Almighty
My Mom
Chris Funk
Anders
J.D.
Josh Nekrep
John Duff
Carey Lauder
Sean Watson
Jim Coles
Michael Katano
the entire magic community of
Winnipeg, Tim Trono, the entire
squad at Artefact Magazine, the
entire staff at Murphy s Magic,
and countless others I am sure I
forgot, and hope they forgive me.
And of course, my beautiful
girlfriend, Courtney Yendrowich.
You didn t think I would forget
you, did you?
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