What

illusionbook
a n d r e w m a y n e
About this book
This is a book of concepts. Twice in my life I've been asked why my books don't con-
tain exact measurements. Both times the asking was done by someone who knew
very little about illusions, let alone carpentry. It was an innocent question. Exact
measurements are not provided because they would be absolutely useless. I have
never in my life built anything exactly as laid out in a book or plan. Not because of any
short sight of the authors of the respective books or plans, but because (1) an illusion
should be custom designed for the person using it (a base designed to conceal a pe-
tite 5f2" dancer would be hopelessly inadequate for my clumsy body), and (2) the
choice of materials, methods, and look vary from performer to performer.
I could've added some measurements and some exploded diagrams that look like
workshop plans, but they would only provide a false sense of security. Get out there
and build mock-ups. Play with cardboard. Experiment with your assistants (I mean
that in a healthy moral way). Or hire an illusion builder.
Special thanks in no particular order: Rand Woodbury, Adam Marcus, Ken
and Traci Montgomery, Richard and Marcia Friedman, James Randi, Jeff
Rutenberg, Matt Barber, Jeffery Kostick, Fran Bombino, Saverio Poehlman,
Jim Nance, Jack Latona, Marc Roc, Milan and Linda, Tom Bramlett, Penn &
Teller, Don Wayne, Paul Osborne, Tim White, Martin Gardner, Jim Murphy,
Geri Lampert, Jose Alvarez, Jerry Andrus, Justin Young, Mark Murphy, and
David Morrow
Table of contents
Special thanks
Introduction
Lit 16
Skyscraper 18
The Vanishing Ferrari 20
The Zeus Basket 22
Cloud 24
Metal 26
Mirror 28
Blinker 30
Armor of the Gods 32
Billboard 34
Rose Chamber 36
The Zoom Tube 38
Edge Vanish 40
Special Delivery 42
Splitting the Ace 44
Iron Man 46
Coffin 48
Costume Closet 50
UFO 52
Cycle 54
Fence Escape 56
Toy Car 58
Balloons 60
Quad 62
The Reflex Box 64
Gone 66
Thunder 68
Magnetic 70
Mr. Pincushion 72
Triplicator 74
The Vanishing Peanut 76
Mr. Happy Socky 78
Radius 80
Anything Goes 82
The Closet 84
Stacked 86
Moto Asrah 88
Inferno 90
Inferno 2.0 92
Video Effect 94
Death Box 96
Tie Cabinet 98
Video Head 100
How to cut a piece of rope 102
Chainsaw Massacre 104
LockUp 106
Hotfoot 108
ACME Flattener 110
Shredder 112
Burst 114
Bowling Ball Through Head 116
The 200 Watt Guru 118
Light Suspension 120
Jurassic Trick 122
Stretch-O-Matic 124
Water Boy 126
Split 128
Spikey 130
Samurai 132
How To Create A Zombie 134
House Party 136
Mummy-O-Matic 138
The Wizard 140
142
Squeezer
The 360 Degree Levitation 144
Signature Piece 146
Super Box 148
Buried Alive 150
Card Pile 152
Cabinet of Pain 154
Stonehenge 156
Secret of the Pyramids 158
The Vanishing Banana 160
Asrah Coffin 162
Super Dude 164
Birthday Cake 166
Card Appearance 168
Walking Through A Fish Tank 170
Hypercube 172
Big Shoes 174
Envision 176
Moto-X 178
Shatterman 180
The Keep 182
The Time Thingamajig 184
Lighthouse 186
Twinz 188
Shape Shifter 190
Astronomy 192
Truckin1 194
Mayne's Mirror 196
Morgue Roulette 198
Portable Elvis 200
Lucky Hat 202
The Invisible Saloon 204
Razors 206
Mona Lisa 208
The Impossible Cabinet 210
New Asrah 212
Shadow Cube 214
Glossary, 216
Bibliography 218
About the author 219
Introduction
"If we steal thoughts from the moderns, it will be cried down as plagiarism;
if from the ancients, it will be cried up as erudition."
Charles Caleb Colton
"There comes a time in every rightly constructed boy's life that he has a
raging desire to go somewhere and dig for hidden treasure."
Mark Twain
For a kid who was into illusions before he could drive, I've been pretty lucky. My inter-
est in magic was encouraged by my parents and nurtured by people who were kind
enough to explain things to me and listen to my ideas.
My ability to get people to hear out my ideas and even drop a couple of bucks on mak-
ing them happen is due entirely to the time spent by people who were willing to share
their insight on magic. People like Don Wayne who kindly spent a couple hours talking
illusions with me when I was 16. People like Tom Bramlett who let me into their shop
and attempted (in vain) to show me something about carpentry. People like Rand
Woodbury who showed me how to develop my ideas and put them into practice. Peo-
ple like James Randi who patiently explained that most of my ideas weren't new. Peo-
ple like Martin Gardner who would answer my questions and explain that not only was
my idea not new, it had been done better a hundred years before. People like Milan
Forzetting and his wife Linda who were willing to explain the show business ropes to a
teenager.
There are other people who I haven't met, but educated me through their books and
essays. Jim Steinmeyer and Paul Osborne come to mind. In my opinion, Steinmeyer
possesses the greatest mind that ever thought about magic - bar none. Osborne and
now Rand Woodbury have done more to make it possible for the average performer to
perform illusions that anybody I can think of.
It was because of these people that I was able to build an illusion show with my father
in my driveway when I was in high school. It was through the help of these people that
I traveled across half the world before I was twenty. It might also be because of these
people that I found myself in my underwear covered in blood in Penn & Teller's work-
shop. But hey, the past is the past and the statute of limitations ran out. What can I
do?
Move forward. My goals as an entertainer are a lot different than they were 10 years
ago. I've accomplished a lot of the things I dreamed about when I was fifteen (plus
some stuff I hadn't even dreamed about, heh heh). My interest in illusions has shifted
from trying to discover a brand new way to hide someone to creating a reason to do so.
My performing style has radically changed as well. Mostly I've progressed. In other ar-
eas I've regressed, intentionally deconstructing some of my notions about magic.
I don't consider myself an illusionist anymore. I'm hesitant to even use the term magi-
cian - this isn't because I've come to believe that developing a twenty-minute routine
around the Sword Through Neck effect has enabled me to transcend the title of
"magician" to "entertainer" (like let's say Sinatra). Although I still perform, I've inten-
tionally spent more time on the outside of the magic world than on the inside. Simply
put, I've been doing other things.
But this hasn't stopped me from thinking about magic. As this book will testify to, I've
been doing a lot of thinking about magic. Personally, I like my ideas as a non-magician
better than the ones I had as a magician.
Whether you like them at all is beyond my control now that this book is in your hands.
I've done my best to present you with some different concepts. If anything, I hope that
I can return some of that influence the people I mentioned had on me...
Best,
Andrew Mayne
u s i o n b o o k
LIT
EFFECT
The magician steps into a cabinet that conceals him from neck to mid-thigh. An assis-
tant brings on stage a half dozen or so poles with lit light bulbs at the end. One at a
time the light bulbs are shoved from the back of the cabinet through the front - appar-
ently penetrating the magician. Additional lights are pushed through the sides as well.
Finally the bulbs are removed and the magician emerges unscathed.
METHOD
The effect is accomplished because of four principles: The first one is that the magician
twists his body out of the way of the light bulbs. The second is that the poles are actu-
ally made from a stiff rubber material that can be bent to accommodate space around
the magician. The third principle is that the light bulbs are the low-voltage battery oper-
ated kind you find at novelty shops - the kind that won't burn you. The last form of de-
ception happens because the light bulbs are of a much larger diameter than the poles.
Two lights that are next to each other on the front actually have several inches of
space between the poles.
The front of the cabinet has several slots for the lights to slide through. The slots are in
turn covered by overlapping folds of Spandex to prevent exposure of the interior of the
cabinet.
BACKGROUND
Light bulbs are common everyday items. Light bulbs on a stick are little bit unique.
Shoving them through a human being is an interesting premise. Not only does the
audience have to wonder how the performer is able to displace their matter in this way,
they also should be wondering why the performer doesn't get burned by the bulbs.
On a purely visual level, this effect would work nicely with very dim lighting. This not
only would make it easier to see the light bulbs, it would create a mysterious atmos-
phere - or give the audience a reason to complain that they can't see the stage.
„
STJ
\r^
KV
Bulbs passing
by magician
Magician with
/ twisted body
(top view)
Overlapping
flaps covering
slot for bulb
i l l u s i o n b o o k
SKYSCRAPER
EFFECT
To the strains of some second-rate studio musicians aping a popular show tune, a cho-
rus line of dancers and maybe a screaming chimpanzee in 21st century Busby Berkly
fashion make their way into a building erected on a platform on stage. As soon as the
last performer waves goodbye, the magician, dressed as a demolition expert, activates
an explosive charge that sets off pyro all around the building. The sides roll up and the
dancers (and the screaming chimp) are gone.
METHOD
After the dancers make their way around the platform, the last one releases a catch
which lowers a black drape on the back. The drape, coupled with the black backdrop
creates a black art space where the dancers can be hid after exiting the building from
the rear.
• The sides are triggered to roll up by the last assistant to duck behind the hiding
space.
• The dancer is triggered by the pyro that the magician sets off.
The platform is painted with a somewhat metallic finish to increase the effectiveness of
the black art. Flashing caution lights strategically placed around the illusion help mask
the black art drape.
BACKGROUND
Most of your illusionists who perform on a regular basis spend a lot of that time per-
forming in revue shows. This means lots of dancers and silly production numbers.
Producers of these kinds of show love it when you can incorporate magic effects into
those parts of the show. Producers will often be willing to pay for the construction of
props if they think it will help the show. Because this effect is more of a set piece than
a magic prop, most scenic departments could make it with little trouble.
NOTE
If you're in a show with a lot of performers, you might want to suggest it to the pro-
ducer. You might also want to suggest that they pay for it as well...
o
r. r
Pyro
Assistants hiding
behind platform
u s i o n b o o k
THE VANISHING FERRARI*

*(crushed)
EFFECT
The magician explains that he is going to perform his most incredible illusion ever: the
vanishing of a Ferrari. There is of course one catch - a minor one; because the magi-
cian spent all his cash on sequins, he couldn't afford a Ferrari in mint condition. Not
even spearmint condition. A crushed cube of a car is wheeled on stage. The magician
admits that it needs a little bit of bodywork. But hey, he points out has he pulls a key-
chain from his pocket, the alarm still works. He presses a button and the cube starts to
flash with light in a couple places and makes a pathetic attempt of sounding like a car
alarm. The magician covers the cube with a cloth and whips it away. The cube has
vanished - but his assistant, named Porsche is there instead.
METHOD
The cube is nothing more than some fold down panels covered with bits of car looking
debris and automotive paint. A couple light bulbs and cracked taillights are located on
the front and are triggered by the car alarm.
• The panels are designed to fold down accordion-style into the surface of the table.
• The cloth used to cover the cube contains a square panel that helps the cloth retain
its shape while the assistant lowers the sides.
BACKGROUND
This effect is obviously done more for laughs than adding any kind of credibility to the
performer. Which is fine for me. If I wanted to be taking credibly, I wouldn't have be-
come a magician. Pretending to have god-like powers is not a way to get your fellow
man to take you seriously.
NOTE
A frustrating aspect of being an illusionist is how much money you spend for something
that doesnt spend much time on stage. The answer, despite what some performers
may think, is not to stretch something out as much as possible. It's much better to use
material that lends itself to an entertaining presentation. A crushed piece of metal the
magician claims is a Ferrari is probably a little bit more deserving of some comedy di-
version than a sub-trunk - unless the trunk was made of cheese.
*(crashed)
Fold-down
panels
r ~\
<:
Side view
u s i o n b o o k
The Zeus Basket

EFFECT
To the strains of Basil Poledouris's Conan score (or maybe the soundtrack from an old
Steve Reeves movie), the magician introduces his lovely (yet equal) assistant. On
stage sits a cloud (with mist) supported off the ground by a steel arm. The magician
assists the assistant into the cloud. The magician then unveils several stainless steel
lightning bolts. These are pushed through the sides of the misting cloud. A final bolt is
pushed through the top and the cloud flashes with light. The magician removes all the
lightning bolts and his assistant emerges from the cloud.
METHOD
The Zeus Basket is a conventional sword basket covered in cotton with a couple of
strobe lights and a fogger concealed in it.
The assistant avoids rupture from the lightning bolts because she's had a tetanus shot
and the bolts completely miss her.
BACKGROUND
The Sword Basket effect has been around for about a billion years. Despite its over-
exposure to magicians by other magicians, it still is a cool effect. One of the reasons
that it is cool is because it's pretty straightforward and simple. Leave it to me to make
it not so straightforward or simple.
The lightning bolts give you something other than swords or spears to commit misog-
yny with. They also create a different effect in the minds of the spectator. You didn't
shove a girl into a basket and skewer her with swords. Nope. You shoved her into a
cloud and skewered her with lightning bolts. Get the difference? I don't. But I sure bet
that cloud will look pretty with all that fog and flashing lights. Maybe we should make it
rain to?
NOTE
There is an electronic fogger on the market that only requires water and a battery.
A couple of these on the surface of the cloud will save you the trouble of installing a
large fogger and settling a lawsuit from your assistant for lung damage.
n w m n
Interior view
Thunderbolts
passing over
and by the
assistant
CLOUD
EFFECT
A young volunteer is brought up on stage from the audience. The magician has the
volunteer lay down on a fluffy cloud atop two rainbows. The volunteer is instructed to
close their eyes and to think of being lighter than air. The two rainbow supports are re-
moved and the cloud remains suspended in mid-air. The supports are replaced and
the volunteer assisted off of the cloud.
METHOD
The right rainbow support is hollow and conceals a metal gimmick that connects the
cloud to the base. The fluffy pliable nature of the cloud allows the rainbow to be re-
moved and conceal the metal gimmick.
Because there is several inches of fluff between the cloud and the rainbow supports,
the supports can be moved in and out of place without causing the cloud to shake from
shifting weight.
• The cloud is made of foam rubber and cotton batting wrapped around a board ap-
proximately four feet long.
• The gimmick that supports the cloud is located slightly off center and near the vol-
unteer's center of gravity.
• The top of the rainbow support is made of black foam and contains a slit that allows
the support to move back.
BACKGROUND
This effect is inspired by the late Doug Henning. He always had a novel way of pre-
senting his magic. I think that's because he had a unique way of looking at an illusion.
Doug didn't think the typical magician questions of "where can I hide the lady". Doug
was more concerned with the presentation - "why am I making a lady appear".
To come up with a fun way to make a child volunteer float, I decided to think about
what kind of imagery a child might associate with floating. Clouds immediately came to
mind. The use of a cloud also solved one of the problem that face suspensions; what
happens when you shift the weight of the person from the support to the gimmick.
Here that problem is negated because there's at least two inches of space between the
hard surface of the gimmick and the rainbow support - they never touch.
Think of why you are trying to accomplish something and the solution will often present
itself. Rather than create something that is arbitrary to your goals, you can create an
effect where every single prop is essential and obvious.
e
Slot for support
Cloud
Cotton
Support gimmick
Front
Back
Side view
o
METAL
EFFECT
A cardboard box is on a table center stage. The magic overturns the box dumping
several shards of jagged metal onto an adjacent table. The magician's assistant is
placed into the box which is then sealed at the top. Donning a pair of workman's
gloves, the magician then begins to pick up the jagged rusty pieces of metal and shove
them through the sides of the cardboard box. Piece after piece of metal is pushed into
the box until there is no place left to shove them through. The pieces are removed one
by one and placed onto the table. The box is unsealed and the assistant emerges un-
harmed. But dies several days later from a tetanus infection.
METHOD
The cardboard box is real. The table is real. The assistant is real. The shards of
metal are almost completely fake. Most of them are pieces of thick rubber painted to
look like jagged rusted metal. Interspersed among them are some real pieces of
metal - painted to look rusted. These genuine pieces are banged around a bit to help
the auditory aspect of the illusion. The rubber pieces are the ones pushed into the box
near the assistant. The assistant pushes them around herself to avoid puncture.
BACKGROUND
Jagged metal. How many movie villains have met their demise by plummeting from a
building top and falling on a rust gate, spire, weathervane, or other convenient sharp
metal object?
Here we use a several pieces of nasty looking rusted metal to make the audience
really uncomfortable. Shiny swords are one thing. But a piece of dirty metal makes
the skin crawl.
NOTE
Before I started working on the nail in head stunt I actually had my doctor give me a
tetanus shot.
Interior view
The assistant
guides the fake
shards around
their body
Metal?
Or thick rubber?
MIRROR
EFFECT
A large mirror is brought on stage. Members of the audience are invited to inspect its
surface. After they have returned to their seats a Spandex partition is placed in the
middle of the mirror. The mirror is revolved so the reflective backside faces the audi-
ence and a similar partition is placed on the back. The mirror is revolved back to
where it faces the audience. The magician steps behind the mirror and then steps
through the mirror. The mirror is revolved to reveal that it is still solid and the partitions
are removed.
METHOD
The magician actually steps through an empty space created by swinging the mirror
out of position. The mirror still appears to be in the same place because two fake
pieces of mirror are pushed out from the middle partition. This occurs as the mirror is
revolved around so a partition can be placed on the back of the mirror.
Two black panels on either side of the back end of the mirror conceal the action of the
mirror swinging out of place. After the magician steps through the partition, the mirror
springs back behind him. He then immediately spreads open the middle of the parti-
tion to show that the mirror is stilt there.
BACKGROUND
Doug Henning and later David Copperfield featured a walking through a mirror effect in
their acts that was absolutely beautiful. Like most of the really cool stuff in magic, it
was the creation of Jim Steinmeyer. There are several walking through a mirror effects
out there. Steinmeyer's is still my favorite. It's not my place to tip his method, but I'll
say that he as usual came up with an elegant way to solve several problems.
For this version of the effect I decided to try and solve some of the problems I had
seen in some of the other methods. I think this succeeded, but I still think Steinmeyer's
is the best.
^^p
(Partition not shown)

The mirror
swinging out
to allow the
magician to
pass
(Back view)
Mirrors sliding into

position from behind
partition
BLINKER
EFFECT
Four traffic barricades form a square in the middle of the stage. As their flashing lights
pulse away, two assistants walk out on stage and pick up a sheet. As soon as they
reach eye-level with the sheet they drop it. There stands the magician and an assis-
tant.
METHOD
The back two barricades are fakes. A mirror running from the top to the bottom reflects
the front legs as the back ones. A piece of thick translucent plastic draped over the top
of them limits the mirror to an interior reflection only. The magician and his assistant
actually are hidden in wells on the back of the barricades.
When the sheet is raised up, the magician and his assistant move from their hiding
places to the middle of the barricades. When the sheet is dropped, they make their ap-
pearance.
BACKGROUND
James Randi was the first one to explain to me the principle of having a mirror facing
straight at an audience with a material between them to keep the audience from seeing
themselves. It's a principal that has been used several times to great success in large
stage illusions. The principal was originally developed by Maskelyne and Devant.
In playing with various materials I found that a heavy plastic sheeting material could be
quite opaque to any kind of image detail when folded over. With the right thickness
you get the illusion that you are seeing into it, but not beyond it.
The flashing lights on the barricades keep the eye from registering too much of what is
taking place in the space created by the legs of the barricade. Add to that the element
of surprise and you have a method for producing someone from thin air.
NOTE
Obviously you can use this prop for anything. The way described here was the first
one that came to mind. People could disappear behind one just as easily as they are
made to appear.
D
^
Side view
Set-up with
two blinkers
_.t.îi
Black-art wall
<- Audience
Front
Back
Mirror
U S I O P D O O K
ARMOR OF THE GODS

EFFECT
Explaining that he spends much of his time abroad collecting antiques, the magician
brings out his latest acquisition. He describes it as a genuine twentieth-century repro-
duction of a 14th century forgery. It's a chest piece from a suit of armor with a large
heart painted on it. He then explains he bought it because it also came with a cool
sword. The magician then dons the armor and has his assistant shove the sword
through his back. The tip of the blade emerges through the center of the heart on the
front of the armor. The blade is removed, the armor taken off, and the magician is un-
harmed.
METHOD
The sword is actually made from two pieces of a large tape measure adhered together.
The sword bends around a channel in the armor made from a piece of metal tubing.
The tubing is cut in the middle so the armor can hinge open to allow the magician to
put it on.
The method is exactly the same as that of the classic sword through neck effect - ex-
cept the sword is a little longer.
BACKGROUND
Although I think the sword through neck effect is good for a few laughs, it's one of
those props that only a magician could love. It doesn't look like anything an audience
could be expected to be familiar with. This isn't really that big of a problem. But I like it
better when the audience is watching you perform miracles with stuff they're accus-
tomed to.
I would venture that most members of the audience have never put on 14th century ar-
mor. Yet I'm sure they saw some on TV somewhere.
NOTE
This effect works technically the same way the sword through neck does. This means
that the effect could be done with a spectator wearing the armor instead of the magi-
cian.
n r e w m a y n
The chest piece

hinged open*
Side view
*Fabric lining
not shown
Interior view
The sword is
bent around the
body by a metal
channel
u s i o n b o o k
BILLBOARD
EFFECT
The curtains part to reveal a billboard for the magician's act. Two assistants revolve
the billboard around so the audience can see the backside. As the front of the bill-
board is revolved back towards the audience, the magician can be seen standing in
front of his likeness on the board. The board is revolved again and two of his assis-
tants are now there. The board is revolved one more time and a motorcycle is now on
the ledge in front of the board.
METHOD
Two principles are used to make this effect work. The basic one being black art. Be-
hind the billboard is a platform on a ledge covered in black fabric. Because the plat-
form actually sticks out several feet beyond the back curtain, the floor can be lit to
some degree.
When the billboard is first revolved the magician steps from the black art platform to
the ledge of the billboard. His assistants make their entrance the same way. A bit of
timing diversion occurs after his two assistants appear. They make their way to the
front of the stage while the billboard is revolved again. This allows the stagehands
enough time to slide the motorcycle onto the platform.
BACKGROUND
This is basically just a big version of the artist's dream. The method is pretty simple,
but I've seen a lot of lighting and background setups where this method could work.
NOTE
A certain amount of depth is created by having the black art platform stick out over the
stage floor. This helps separate the billboard from the scenery.
a n d n e w m a y n e
Loading
platform
Side view
ROSE CHAMBER
EFFECT
Onstage stands a large inflatable clear plastic cube. The magician steps inside of it
through a slit on one side. He steps on top of a platform in the middle of the chamber
and folds back his sleeves. He makes a single rose petal appear. He drops it and it
begins to flutter in the breeze from the air blower keeping the chamber inflated. He
makes a fist and produces another petal which he lets flutter in the breeze. He then
produces a handful of petals that are let loose to fly around in the breeze. He contin-
ues to produces petals until the chamber is a maelstrom of red petals.
METHOD
The first few rose petals - actually pieces of tissue paper - are produced through slieght
of hand. A large package of them is located in the magician's sleeve. He first shows
his hands empty then pulls his sleeves back. As he does this he palms the packet of
petals. The first two petals he produces are pushed off from the top of the pack. The
next few are produced by pushing off wads of petals. The vast majority are produced
by a second air blower located behind the magician. This blower is connected to the
wall of the chamber and has several piles of petals in its air duct. When a foot switch
turns it on, it launches thousands of petal into the chamber.
The chamber is made from clear plastic sheeting - the kind used as a paint drop cloth.
BACKGROUND
When the snow effect first appeared it was pretty neat. After about the 500,000 per-
formance by the 500th performer, it has become a bit of a cliche. It's still a neat effect,
but I thought it might be time for an alternative. Making it snow is much more profound
than making a bunch of rose petals appear, but what can you do. My "Make It Rain"
effect drowned a couple audience members. And my make it "Hail" effect killed sev-
eral more. Until I get the bugs out of my "Make It A Meteor Shower" effect, rose petals
will have to suffice.
NOTE
Always use caution when stepping into any huge clear plastic chambers!
o
rose chamber
The petals
sliding into
the palm
A clip holds
the petals in
place
u s i o n b o o k
THE ZOOM TUBE

EFFECT
The magician lays some newspapers on the middle of the stage floor. He explains that
they are there to prevent the use of trap doors. Two assistants walk out with a square
that has a curtain that hangs down on all four sides. This is placed over the newspa-
pers. The magician steps in the middle of it and it's raised around him. The curtain is
dropped and he's gone. No platform, no trick base, no trap door. Nada. The curtain is
raised again for a moment and dropped. The magician is back as quickly as he had
vanished.
METHOD
Hanging from one of the theatrical lighting pipes directly over the newspapers is a
sheet of black fabric. When the curtain is raised around the magician, an offstage as-
sistant lowers a rope from the ceiling. The magician is then pulled straight up off the
floor to behind the piece of black-art. After it has been revealed that he has vanished,
the curtain is raised and the magician lowered again.
To make the square curtain for this effect (or any other requiring a curtain) use PVC
pipe as your support ring.
BACKGROUND
Every now and then I'll watch a videotape of my act and try and figure out alternative
ways I could accomplish what I was performing. Sometimes, the lighting and scenery
creates an opportunity that we couldn't see in the planning stages of the show.
A lot of the stuff I've performed has been in front of black curtains. Often, not much
thought has been put into the lighting above head level. If that doesn't seem to affect
the audience's ability to be fooled by an effect, it creates a unique way to entertain
them.
NOTE
The Zoom Tube is not so much an effect as much as a tool. You'll see that I've used it
elsewhere in this book to accomplish other illusions.
Black art curtain
Curtain
EDGE VANISH
EFFECT
A large card board box with no top or bottom is dragged onstage. The magician has
one of his stagehands stand near the edge of the stage. The box is placed over the
assistant, walling them in. The magician then proceeds to slide the box around the
stage for no apparent reason. He trips, the box falls over flat. The stagehand is gone.
METHOD
At the foot of the stage is a set of steps leading from the floor of the auditorium to the
stage. The steps are hollow and a trap door on the top of them allows someone to
move from on top of them to into them.
• When the magician pushes the box over the edge of the stage to the steps, the as-
sistant crawls into the steps.
• The assistant makes his exit during a blackout later on in the show.
BACKGROUND
Most stages don't have trap doors anymore. Many of them don't have steps leading to
the audience either. By solving one problem you can solve the other. However, it's
very important to isolate the point where the assistant vanishes from where they crawl
into the steps.
NOTE
This method is obviously more of a tool than an effect. You can use it to make some-
body appear as well as disappear. With a little effort, you could even switch one per-
son for another.
Since the steps are in the audience and not on the stage, they should be made to look
as mundane as possible. Flat black paint and a lot of wear with pieces of reflective
tape marking the steps will increase the deception. Something made out of shiny
chrome might seem a little odd.
Assistant inside
stairs
Top view
o Trap door
u s i o n b o o k
SPECIAL DELIVERY
EFFECT
A table is wheeled out to the magician. On it sits a large package. The magician ex-
plains that he's always looking for new ways to ship his props and assistants around
the world. Sometimes things can get quite hectic. He says that he'd like to do a card
trick but can't because he can't remember what happened to his deck of cards or his
assistant. One went on an airline. The other got sent Federal Express. He picks up
the package and shakes it. A hand reaches through the top of the package and hands
him a deck of cards. The magician takes the cards and sets the package back down
on the table. He announces that he'll figure out what happened to his assistant later.
While his back is turned his assistant crawls out of the box and storms offstage.
METHOD
The illusion of the box being empty is created when the magician effortlessly picks up
the box and shakes it. The assistant is actually supported inside the box by a platform
that holds the assistant several inches off the table. This platform has a metal support
that goes out the back of the box, around the magician and down into the table. His
body conceals the support when the box is lifted off the table.
BACKGROUND
I like magic effects where the illusion is created completely in the spectator's mind. In
this effect the magician never directs their attention to anything magical. It just sort of
happens. The audience knows that you can't pick up a box with another human in it
and shake it without straining. That's where the illusion occurs.
NOTE
If you like this effect but want to perform it differently, the box could be made into a lot
of different things: a birthday present, a basket, a giant piece of origami...
Special Delivery
—- The support
gimmick
^——-7 (box not shown)
Side view
e
u s i o n b o o k
SPLITTING THE ACE

EFFECT
A volunteer is brought up onstage and asked to lie down on a table. A frame with a
hole large enough to fit around their body is brought out. This is placed over their
waist. The magician then brings out a giant-sized Ace of Spades. The card is placed
into the frame and pushed down through the spectator's body. The card is then
pushed up and down several times to show that it is passing through their body. The
card is removed and the spectator is unharmed.
METHOD
The card actually sits inside of a frame. At the bottom of the frame is a roller shade.
As the card is pushed down into the body frame, the face of the ace is rolled up into
the card frame. At the bottom of the body frame there is another roller shade with an
Ace on it. As the sides of the card frame come down through the body frame they
push down on this second roller shade creating the illusion that the card is passing
through the spectator.
BACKGROUND
Pushing one unusual object through another is always an interesting premise to me.
Partially because I'm fascinated by the mental picture of what is taking place. If some-
thing vanishes, it vanishes. Cut someone in half and they're in half. Move one object
through another; what's the magical explanation? Are their molecules intertwined?
Does part of one object disappear? Do they go into some kind of Doctor Who space?
This effect came about after I was playing around with some playing cards and thinking
about those questions. I still don't have an answer.
NOTE
Before making this effect, play around with some pieces of cardboard. Once you find
the right shapes and sizes, you can use them as templates for making the final version.
math
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u s i o n b o o k
IRON MAN
EFFECT
Standing on a platform is a large metal cage in the form of a human body. On either
side are racks of spears. The magician places several balloons inside the cage and
locks it. The spikes are released and then slam into the cage popping the balloons.
The spikes are pulled back and the magician takes the place of the balloons. The
cage is locked. He has two minutes to get out. A curtain is raised in front of the cage.
A light is then placed in back of the cage so the magician's silhouette can be seen. He
struggles with his bonds to no success. The spikes slam into the cage. The curtain
drops and the magician is standing in front of the cage unharmed.
METHOD
Before the light is placed in back of the cage to cast a shadow on the curtain, the magi-
cian steps through a trap in the front of the cage. He then stands directly in front of the
cage causing his shadow to appear inside of the cage. When the spikes slam into the
cage he steps forward and pulls the curtain down.
BACKGROUND
A trick like the sub trunk is somewhat of a magic cliche. But the first time I ever saw it I
was pretty impressed. I'm still fascinated by the idea of the performer instantaneously
extricated himself from his bonds. Throw a couple sharp spears in for good measure
and the fun really begins.
I've also been fascinated by the look of medieval torture devices. There's a wonderful
passage in the book Hannibal by Thomas Harris where he describes Hannibal Lector
going to an exposition of torture devices - not to look at the devices themselves - but to
watch the expressions of the people staring at the cruel machines. Creepy. Cool too.
NOTE
For added effect, as soon as the spikes close in, a little blood on the sheet wouldn't
hurt. A little blood on the audience would be even cooler. You actually don't have to
spray them with blood per se. Have an assistant in the back of the theatre with a giant
Super Soaker squirt gun loaded with water. At the right moment (when the spikes go
in) have them squirt water at the ceiling of the theatre. When the water hits the audi-
ence, they should react.
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9 u A B 01 M e J p u e
u s i o n b o o k
COFFIN
EFFECT
A gothic looking coffin is wheeled onstage. Underneath the coffin is a platform with
several dozen lit candles. The coffin is opened and the magician's assistant is placed
into it. After the lid is closed a crank is turned on the side of the coffin. The platform
holding the candles is slowly raised upwards. The candles go through holes in the bot-
tom of the coffin. The crank is turned some more and the candles emerge through
holes in the top of the coffin. Because of the spacing of the candles it would appear
there was no possible place for the assistant to hide. The crank is turned the other
way and the candles are lowered out of the coffin. The lid is opened and the assistant
emerges unharmed.
METHOD
The assistant avoids the candles by rolling out the side of the coffin. The side panel is
made from loose Spandex that allows the assistant to move their body onto the ledge
without being seen. A trap comes up between the assistant and the candles to prevent
them from coming into contact with the flames.
The top and bottom of the coffin are made from a fire retardant material.
BACKGROUND
Several of the illusions in this book have a gothic theme to them. I'm a sucker for old
horror films. Especially the old Hammer films. The first illusions I ever made were all
designed around a gothic magic act. One of the things I spent some time thinking
about were all the different ways you could kill Dracula. This coffin was one of those
ideas. I was an odd child.
NOTE
There are several different ways you could accomplish this effect. I just went for the
most straightforward. Another method would be to create a path for the assistant to
place her body in that would avoid the seemingly randomly placed candles.
o
c o "F f i n
Top view
Back view
Platform for raising

and lowering candles
(candles not shown)
i l i u s i o n b o o K
COSTUME CLOSET
EFFECT
A big part of being in show business the magician explains, is the ability to change in
and out of costumes quickly. Actually, the problem was solved a long time ago. A tall
upright cabinet is pushed onstage. The magician introduces the prop as an old cos-
tume-changing booth used for horror films. An incredible piece of technology, he ex-
plains. He pulls back a curtain to show the empty interior. An assistant is brought out
onstage. The magician explains that he is going to time her. She walks in one side of
the cabinet and comes out the other in a few seconds dressed as the bride of Franken-
stein. Pretty good, but the magician challenges her to do better. She walks through
the cabinet and comes out the other side almost immediately as a mummy. She next
changes into the Creature From The Black Lagoon. The magician then walks through
the cabinet himself and emerges a wolfman. The assistant re-enters the cabinet and
steps out as a space creature. They both walk towards the audience. The wolfman
takes off his mask and is the assistant. The alien takes off his mask and is the magi-
cian.
METHOD
A second assistant is hidden inside the cabinet. When the first assistant steps into the
cabinet they switch places (the second one already wearing the costume). While the
second one emerges, the first assistant puts on the next costume. When the magician
steps into the cabinet the assistant steps out in his place as the wolfman. He then
emerges as the space creature.
The side of the cabinet is made from sheet metal. An outward curve in the sheet
added to the width of the frame around the front and a few inches you steal on the in-
side, will create enough space for your assistant.
BACKGROUND
I once saw a quick-change artist perform. He did a bit from some Dickens novel where
he portrayed all the different parts. It was really impressive. I've thought about a magi-
cal version of that for a while. The costume closet seemed like the most direct way to
do it. The little twist at the end is set up nicely by the routine of the illusion. The whole
effect is really just an adaptation of an effect performed 100 years ago by the Maskely-
nes in the palace of mystery. The chief difference being the 100 years of horror mov-
ies that we're able to draw upon.
o
As one assistant
emerges, the other
puts on the next
costume
Second assistant hidden

inside of closet
u s i o n b o o k
UFO
EFFECT
The magician introduces his new toy, a flying saucer. He steps into the saucer and
flips some switches. Lights begin to flash on the saucer and it starts to make a hum-
ming noise. The saucer begins to lift off the ground. The saucer lifts several feet into
the air then floats back down to the ground. The magician steps out of the saucer grin-
ning like an idiot.
METHOD
This effect works through one of two ways:
(1) Secret alien technology hidden in Nevada
(2) A support that runs from the saucer through a slit in the back curtain to pivot man-
aged by a stage hand
If you guessed 1 you're absolutely right. The UFO is actually made from a high-tech
material that defies gravity. It can't be bought on the open market but can be manufac-
ture by mixing equal parts plutonium and Tang.
In the event that you can't secure the Tang to make the outer skin of your UFO, you
might want to try fiberglass or a large sheet of plastic.
BACKGROUND
I'm always amused by cartoon drawings of aliens. Especially the ones where they're
sitting in tiny spaceships. The Internet is cool and all, but I won't be impressed until
science gives me a tiny spaceship that only covers my legs to fly around in.
NOTE
If you want to make the illusion extra-deceptive from side angles, put a smoke machine
backstage with a hose running along the support to the back of the UFO. A blanket of
fog coming out of the back of your contraption will look like emissions from a tail pipe.
Side view
The offstage unskilled

labor that makes the
magic possible
e
i I I u I O n
CYCLE
EFFECT
The magician explains he's developed a brand new form of shopping. It's quite revo-
lutionary because you don't have to go to the store or have anything sent to you. Two
assistants walk onstage carrying a large picture of a motorcycle. The magician walks
behind it and holds it upright as the two assistants walk offstage. He sets it on the
ground then tips the panel forward - a motorcycle is revealed behind it.
METHOD
The motorcycle is a complete fake. It's made from Styrofoam and foam rubber. It
weighs very little. The assistants are supporting it behind the panel when they walk out
onstage.
When they set the panel down they also set the bike down as well. The magician
holds on to the top of the panel as the assistants undue the wires holding the motorcy-
cle to it.
BACKGROUND
In the world of movies the make a lot of fake stuff that looks real; rocks, marble col-
umns, chariots, even people. A motorcycle shouldn't be any different. Right?
NOTE
If you are going to make any kind of fake object, the less detail you have to fake, the
better. A Japanese sport bike or a European racing one would probably pose less of a
challenge than a big Harley. You can carve most of the shapes and curves in a sport
bike from a large piece of Styrofoam. Sanding the foam down and then giving it a
coating will look real enough from a distance. Just don't try to ride it.
illusiontip
Black magic marker for touching up props
Costumes, shoes and that nice autobody finish on
your illusion all have a habit of getting scuffed up.
Keep a black magic marker in your toolbox so you can
apply a quick touch up until you have a chance to give
the scuff a proper touch up paint job.
J
©
Fake motorcycle
behind
u i o n
FENCE ESCAPE
EFFECT
A chain link fence in an industrial looking metal frame is pushed onstage. The magi-
cian is placed behind the fence and handcuffed to it. Moments after he is chained to
the fence a flash goes off. The magician has vanished —
gone forever...
METHOD
A piece of black fabric unfolds from the top of the frame and hides the magician from
view when the flash goes off. The handcuffs slide open without a key because the
ratchet has been filed down.
A sure way to keep the eye from noticing a black art effect is to give it a bright object to
focus on in front of the area you are trying to hide. A shiny chain link fence does that
for this effect.
BACKGROUND
When done right, black art effects can look like pure magic. Part of creating the illu-
sion is in staging the lighting and the props on stage so everything looks natural.
NOTE
So what happens after the magician has escaped from the fence? Easy, he absconds
with the box office receipts and takes an airplane to the Bahamas. Unless of course
he is actually performing in the Bahamas. If so, then he travels from the back of the
fence to the offstage in back and makes his way around the theatre to appear in the
audience.
illusiontip
Extra material that requires no set-up
Keep an extra ten minutes of material that requires no set-up
handy at all times. This can be a rope routine or anything else
that's simple and can be done in the audience while your back-
stage crew tries to fix whatever problem needs to be solved.
^^m
Handcuff
with filed Black-art
ratchet cloth
Pyro
/___
/
Front view Side view

i I I u i o n
TOY CAR
EFFECT
From the back of the auditorium a small remote controlled car comes rolling. It drives
through the audience and up on stage. It makes a few circles around a miniature ga-
rage located in the middle of the stage then drives up a ramp into the garage. The
front window of the garage closes. The magician bursts through the roof of the garage.
METHOD
The magician is hidden behind a fake wall in the garage. The car - controlled by some-
one off-stage - is driven into the garage, then the magician releases the shade for the
window.
The roof is made of black paper with scoring along the edge to allow the magician to
break through it.
BACKGROUND
Clown cars are pretty cool. Forty people climbing out of a small car is pretty funny. It's
a lot like high school. If you make the car even smaller, you have an illusion when just
one person climbs out.
I've thought of several different ways to accomplish this effect. I think using a variation
of The Doll's House is pretty straightforward.
illusiontip
Put info on the back of business cards
Whenever you meet someone, write done where you met them
and whatever relevant information you have on the back of their
business card. This will help you remember later on who the
hell they were. Also, don't forget to actually put the card in
some place useful other than the bottom of your chest of draw-
ers.
o
Toy Car
Toy car
Magician
hiding in
garage
Top view
e
i I I u i o n
BALLOONS
EFFECT
A tall upright cabinet stands mid-stage. The magician waves goodbye to his audience
then steps inside the cabinet. Moments later several balloons in the form of his body
float out of the top of the cabinet and up into the rafters above the stage. The sides of
the cabinet fall down and the magician has vanished - ostensibly having changed into
the balloons.
METHOD
The magician steps into the cabinet then climbs into the base beneath it. Once there,
he releases a catch that lets the balloons loose. A moment later he releases another
catch that allows the sides to fall down.
The balloons have a flesh colored balloon for the head. The body is color coordinated
to the magician's outfit.
BACKGROUND
Watching computer animation can give you some pretty crazy ideas about what magic
would look like if you could do anything you wanted to visually. One computer-
generated effect in particular is when an object or person is changed into a number of
small floating spheres.
While helium balloons don't quite replicate this effect, they come kind of close. At the
very least they create the opportunity for a unique transformation.
illusiontip
Send out lots of postcards
Anywhere you go, everywhere go; send out lots of stupid post-
cards - to agents, family, friends, etc. This will keep them up-
dated on where you are at and will keep you in the minds of the
people you want to book you.
^^b
The magician hiding

in the base
e
u i o n
QUAD
EFFECT
A tall cabinet is pushed onstage. The cabinet is split apart in the middle and the magi-
cian's assistant steps inside. She places a hand out of a slot in either corner and does
the same with her feet. The cabinet is then pushed closed. Eight blades are then
brought out. The blades are pushed into the cabinet dividing it into four quadrants.
The cabinet is then split apart. The assistant's hands and feet move on command from
the magician. The top sections of the two cabinets are then lifted to show that the as-
sistant has been cut into four pieces. The cabinets are pushed back together and the
blades are removed. The assistant emerges unharmed.
METHOD
Two assistants are used. The assistant who is seen by the audience places her real
right hand and right foot into the slots. The unseen assistant, hiding in the left side (the
audience's right) of the cabinet places her left foot and left hand through the slot. Once
the assistant is sealed inside of the cabinet she steps into the side section.
The sides of the cabinet are curved to allow several inches of space to hide the assis-
tant's body in addition to the several inches taken up by the strut that supports the top
cabinet.
BACKGROUND
QUAD is basically another way to magically mutilate an assistant. Fake feet and
hands could be used instead of a hidden assistant, but people come pretty cheap.
illusiontip
Always update people on change of address and phone
number
There's a handful of people who I'd like to get hold of but can't
because they haven't told me where they're at now (by choice).
Likewise, there are probably a couple people who would like to
get hold of me but can't because they don't know where I'm at
(he he). Keep a list of everybody you know, and send all of
them updates on your new addresses and phone numbers.
Top section
Interior
view
Bottom section
U - Blade with curve

Side interior
view
u i o n
THE REFLEX BOX

EFFECT
The magician pushes a frame onto stage. The audience can see straight through it to
the back of the stage. The magician takes the cloth that is draped over the frame and
covers it with it. He pulls the cloth away and reveals his assistant.
METHOD
The hiding space in the Reflex Box is created partially through the sides of the frame.
The majority of the space is created by the cloth draped over the frame. The assistant
is partially in the frame and partially hanging out of it. The outside of the frame is cov-
ered with black Spandex. When the assistant steps into the box after the magician
covers it, the Spandex snaps back into place.
The cloth used to cover the frame should be bulky enough to conceal several inches of
the assistant's body
The top and bottom edges of the frame should stick out a few inches beyond the cloth
to make it appear thinner.
BACKGROUND
I've used a lot of different magic cloths with my illusions. Some that were kind of bulky,
some that weren't. I've noticed that you can lay one on top of a prop and nobody
seems to give it much mind - even if it looks kind of thick. The ability to steal just a
couple inches because of this is enough to create an illusion.
illusiontip
Maintain a consistent e-mail address
Unlike a phone number or a physical address, an e-mail ad-
dress is the easiest thing to maintain. Somehow, people tend
to ignore this fact and constantly change their address (usually
for some stupid vanity address). Even if you move to a new
email address, maintain the old one and be sure to tell people
that you changed it.
o
The Reflex Box
Trap
Spandex
Interior view
of hiding space
(front)
e
i I I u n
GONE
EFFECT
The magician explains that he has been practicing the art of invisibility. So far he has
only been partially successful. He states that if he goes into his little quiet chamber
and meditates he can almost make himself vanish. He offers to demonstrate. His
quiet chamber is brought out onstage. He steps inside, he is fastened into it and his
meditative music is played. After a few moments of meditation, the front is opened arid
the magician has vanished from the waist up. The door is closed and then reopened.
The magician has fully returned.
METHOD
The magician steps into the chamber and kneels down to where he hides behind his
front legs and the shackle that binds them in the box. Fake thighs are pulled out from
the shackle section to give him more room to hide. A black panel folds down over him
to conceal him from high sight lines.
BACKGROUND
The Disembodied Princess has always been one of my most favorite magic effects.
The first time I saw it performed - by David Copperfield - I was blown away. It wasn't
until later on that I learned some of the history of the effect. Originated by P.T. Selbit,
the effect is also called "Girl without a middle", or "no guts".
For this variation, I thought it would be neat to allow the magician to actually hide part
of his body with his own body. The premise of trying to "half vanish" allows us the op-
portunity to create a Disembodied-like effect without a fake head.
illusiontip
Have lots of photos and video taken
Any chance you get, have pictures and video taken. Even if the
video isn't of your whole act, it will be useful later on when you
put together a promotional video. Having lots of pictures will
also provide you with a lot of material for your promotional kit
and any other kind of publicity.
^^m
Front door Fold-down panel

conceals fake
legs
Magician hiding
behind legs
Front view
Side view
u i o n
THUNDER
EFFECT
The magician walks onstage holding three steel thunderbolts. He places them in a row
pointing up on a platform. His assistant walks onstage and is placed into a trance.
With the help of a stagehand the assistant is placed atop the three bolts. The magi-
cian carefully removes two of the bolts leaving the assistant suspended at the neck
over just one of the bolts. The other two are replaced and the assistant is removed
from off the thunderbolts.
METHOD
This effect is based upon the sword suspension effect. The assistant wears a harness
under her clothes that has a slot for the thunderbolt at the base of her neck to slip into.
To get the bolt to lock into to place, she is placed onto the thunderbolts at an angle -
head end first. She's removed the same way.
BACKGROUND
The really nice thing about the sword suspension is that you can do it with people at
just about any angle. Using the thunderbolts is a way to theme the effect for a unique
presentation.
NOTES
The platform could be covered in cotton or white foam. The use of a small misting ma-
chine can make it appear cloud-like.
illusiontip
Update your material often
With desktop video ad publishing it's now easier than ever to
keep your promotional material updated. Anytime you add a
new effect or concept to your act, revise your material and send
it out to your agents. This reminds them that you are out there.
o
Bolt locking
into place
Harness for
supporting the
assistant
(unfastened)
e
u s i o n b o o k
MAGNETIC
EFFECT
The magician explains that he is proud to have in his audience two former carnival
sideshow performers. He walks into the audience and grabs two random gentlemen
with similar builds. He brings them onstage and introduces them as the Magnetic
Brothers. He gives them each a flashy jumpsuit to put on. He then has them sit back-
to-back on a crate and interlock arms. The magician tells the audience that their
strange ability is the result of a close encounter with a bolt of lightning and a 7-11 bur-
rito. He slides the crate out from underneath them and they remain in a seated posi-
tion with their backs to each other. The magnetic force is so strong the magician ex-
plains that one of the brothers can even lift his feet off the ground. He points to one of
the men and he lifts his feet off the ground - effectively levitating off the ground. The
magician has him put his feet back and returns the crate. The men are then allowed to
stand up and return to the audience (sans flashy jumpsuits).
METHOD
The two men are supported by a seat that is supported by a metal rod at the far end
away from the audience. This rod travels through a corner of the crate and into the
platform the crate is on.
The corner of the crate just barely touches the seat the men are sitting on. Addition-
ally, the crate is painted a dark neutral color that recedes into the background in back
of the jumpsuits the men are wearing.
Because their arms are interlocked, the man with his feet planted on the floor keeps
the man who is lifting his feet balanced.
The jumpsuits are quite baggy. This allows them to cover up portions of the seat that
may otherwise be visible.
BACKGROUND
Sometimes suggesting something magical is happening can be even more impressive
than announcing it in big bold letters. Build-up is everything. Two men could con-
ceivably support themselves off the ground in the sitting position with their backs to
each other. But it would be an impossibility for one to lift his feet off the ground en-
tirely.
NOTE
You could take this effect one step further and have both men lift their feet off the
ground and create a complete levitation.
a n d r e w r n a y n e
'ETl
Overhead view
Crate with notch

for platform
Hidden seat
u I O n
MR PINCUSHION
EFFECT
The magician steps onto a platform in the middle of the stage. Two assistants walk out
with a large sheet. They cover him from head to toe with the sheet. The assistants
then wheel out a cart with several dozen fencing foils. They begin to shove the foils
straight through magician's body. They shove every foil into every possible angle.
They then remove all the foils. The sheet is pulled away and the magician is still
standing unharmed.
METHOD
When the sheet is brought in front of the magician, a wire frame form similar to an As-
rah form is lowered onto the platform in front of the magician. He sits down on the bot-
tom of the form holding it to the platform.
The swords are shoved from one end of the form to the other avoiding the magician
who is sitting below.
After the swords are pulled out and the sheet about to be pulled away, the magician
stands up. The sheet is yanked upwards to allow the form to be pulled upwards to the
rafters.
BACKGROUND
The principle of the Asrah levitation is quite clever. The form is introduced a little bit
differently here. With one spotlight that just barely touches the top of the sheet when
the assistants go to cover the magician, the form can be lowered unseen.
illusiontip
Buy a video camera
A video camera (ideally a MiniDV) is one of the best tools in a
magician's arsenal. It will help you rehearse your act (you can
see your mistakes before your audience does), it will help you
train your assistants (they can see how it's supposed to be
done), and you can use it to shoot video of your act for your
promotional tape and many other things.
Form
Front
Magician
u s i o n b o o k
TRIPLICATOR
EFFECT
The magician puts on a pair of safety glasses and enters a tall cabinet. The doors are
closed and two blades are shoved into the middle; dividing the cabinet in two. The top
cabinet is lifted and a third cabinet is placed between the top and bottom. The doors to
all three cabinets are opened and the magician's body is now nine feet tall. The doors
are closed and the cabinets are unstacked. The doors to the three cabinets are
opened to reveal that the magician now has three third sized clones. The doors are
closed, the cabinets stacked into three, the middle removed, the blades removed and
the magician emerges his usual self.
METHOD
The cabinets have three sides with doors that can be opened. Each side has a differ-
ent form. Cabinet (1) which is the top of the first two cabinets, has a normal door that
opens to the dark interior, a door that opens to a form that resembles the top part of
the magicians body - fake head and all and a door that opens to pint-sized body form
of the magician. Cabinet (2), the bottom of the first two cabinets, has a normal door, a
door that opens to fake legs and a door that opens to a miniature magician. Cabinet 3
has a door that opens to the magician's fake midsection and a miniature magician.
Sunglasses are used to conceal that the miniatures are complete fakes. The reveals
are done quickly to keep the audience from figuring that out.
BACKGROUND
The Mismade girl by Chuck Jones is a pretty cool effect. It starts out as a typical magic
effect; put a girl into a box, cut her up. But it ends up as something more entertaining.
When the magician can't remember what part to put where, the audience is giving a
cool visual.
For Triplicator I wanted to give the audience a neat visual idea of what happens when
you use too many boxes or stop the effect in midstream. I don't think the result is one
they would expect.
Step 1
Step 2
Interior
of middle
box
Stretched
magician
Step 3!
Miniature magician/
U S I O P D O O K
THE VANISHING PEANUT

EFFECT
Standing in front of the curtain, the magician announces that he is going to perform the
most delicate of illusions - the vanishing peanut. Where other magician might try and
impress the audience with crass displays of high-tech illusion technology by making jet
airplanes and motorcycles appear and disappear, he recognizes that his audience is
one of distinguished taste. Therefore they can appreciate the subtle beauty of a simple
yet elegant effect as vanishing a peanut. While he says this, an elephant trunk
emerges occasionally through the gap in the curtain and tries to take the peanut. The
magician acts totally oblivious to the nuisance. After the trunk goes backstage a bit of
a ruckus can be heard along with the vocal protests of the elephant. The curtains open
to reveal a small pedestal. In back of the pedestal is what obviously looks like a me-
dium-sized elephant covered with a sheet. The magician places the peanut on the
pedestal and stands directly in front of it. A trunk lifts up from behind the sheet and
goes for the peanut. In doing this, the trunk lifts up enough of the sheet to reveal ele-
phant feet and part of an elephant's body. After the trunk has absconded with the pea-
nut, the magician turns to the table and points out that the peanut has vanished. He
then pulls away the sheet covering the elephant to reveal not an elephant, but two zoo-
keepers pushing brooms.
METHOD
There is no elephant. The trunk that emerges from the curtain and later the sheet is a
rubber appliance worn over the arm of an assistant. The sound effects are pre-
recorded from actual elephant noises. The elephant under the sheet is created by an
Asrah form supported by one assistant dressed as a zookeeper standing on a crate.
This form is later pulled to the ceiling. The other assistant dressed as a zookeeper is
at the front of where the elephant would be behind a form that looks like the front legs
and chest of an elephant.
When the peanut is placed on the table the assistant with the trunk leans forward and
picks it up. He then places the trunk into the crate and lays the fake elephant body flat
on the ground (the magician lets the sheet fall on it). When the sheet is pulled away
the elephant form is pulled to the ceiling.
BACKGROUND
I've always wanted to vanish an elephant but never had the space in my apartment to
keep one. I thought moving to a two bedroom would help, but I ended up using the
other room to store my pogo stick. Maybe I'll get one when I move to a townhouse with
a little courtyard. Until then I have to come up with ways to do imaginary elephant
tricks.
The
Wire form
Fake trunk
Fake elephant
i I I u i o n
MR HAPPY SOCKY
EFFECT
The magician tells his audience that he's developing a children's television program.
He reaches down to his shoes and pulls off a white sock. The sock has a mouth and
eyes drawn on it. He walks over to a small puppet theatre and places the sock inside
of it. The sock then comes to life as if a hand was in it and begins to insult the audi-
ence using a bunch of crusty jokes. The magician apologizes for the sock's behavior
and removes it from the theatre. He then disassembles the theatre revealing that there
is no one there.
METHOD
A hidden assistant manipulates the sock. When the theatre is disassembled, the as-
sistant hides in a compartment made up by the side and ceiling of the theatre.
BACKGROUND
I love mean puppets. If you ever want to let loose on an audience, there's no better
way than putting a sock on your hand and to start screaming.
illusiontip
Toolbox
You should always have a tool chest handy with whatever tools
you need to assemble and repair your props. Screwdrivers,
hammers, nails, glue, a ratchet set and just about any other tool
you can put in there will better help you in the event of an emer-
gency.
Assistant hiding
in the ceiling
and side wall
Mr. Happy Socky,
the pinnacle of
high-tech magic
apparatus
i I I u i o n
RADIUS
EFFECT
A large steel plate with a four-inch hole in the center is introduced into the audience.
Volunteers are invited to knock on the plate and verify that it is real. After the audience
has had a chance to inspect the plate it is placed into a frame onstage. The frame has
a twenty-inch diameter Spandex circle in the middle of it. The magician tells his audi-
ence that due to some freak genetic accident he has rubber bones. He offers to prove
it to the audience by crawling through the four-inch hole. He walks to the backside of
the frame and proceeds to step all the way through the plate. The plate is removed
and hit with a hammer to prove that it is solid.
METHOD
When the plate is slid into the frame a rolled up piece of material that looks exactly like
the plate unrolls from the top of the frame. The plate is then swung to the side allowing
the magician to crawl though a slot in the fake.
Once the magician has made it through the slot, the plate is swung back into place.
When the plate is lifted out of the frame, the fake rolls back into the top of the frame.
BACKGROUND
Walking through a mirror is a pure magic effect. Crawling through a four-inch hole is
the kind of effect that is just at the borderline of possibility. These kinds of illusions fas-
cinate me. They're the kind of thing that makes the audience leave with a burning
question; was it real? If not, then how?
illusiontip
Lighting design in mind
When you design and build an illusion, keep in mind how it is
going to look under stage lighting conditions. Also take advan-
tage of the way different materials reflect light. What looks me-
diocre in your shop might look quite spectacular on stage (or it
could suck).
^^m
Hf^.
U (S3
Hinge
Sliding the
plate into
position
Fake plate
e
u i o n
ANYTHING GOES
EFFECT
The magician tells his audience that he didn't start off a big fancy illusionist. He didn't
always have a bunch of shiny cool looking props. There was a time he explains, that
he had to perform his magic with whatever junk he could find. A dingy looking crate is
brought on stage. The magician's assistant steps inside of the crate. The magician
begins to shove various random objects through its sides; fishing poles, golf clubs, in-
flatable alligators, tennis rackets, croquette mallets, street signs, lamp fixtures, etc. Af-
ter the crate has objects going through it in every possible place he removes them all
and reveals his unharmed assistant.
METHOD
The assistant is actually safely hidden inside of a secret compartment beneath the
crate.
BACKGROUND
The entertainment value of this effect isn't so much the mystery of where the assistant
goes, as much as the novelty of each strange object the magician brings out to shove
into the box.
Having the objects out of sight before they are introduced will build up the comedy level
of the effect. I suggest finishing with the inflatable alligator.
illusiontip
Keep a Polaroid handy
A Polaroid instant camera can come in hand when you least ex-
pect it. From documenting damage done to your props, pic-
tures with celebrities, to uh, UFO photography, a Polaroid is a
helpful tool to keep in your tool kit.
^^m
flnnthfn
^J
Secret compartment
^^m
u i o n
THE CLOSET
EFFECT
The magician tells the audience that when he was a child he would've sworn that his
closet was haunted. He brings out a large box with no front and no back and offers to
prove it to the audience. A black cloth is draped over the back of the box to make it
look like his dark closet. A toy ball is placed at the bottom of the box, it sits there. Af-
ter a moment the ball moves just slightly. The magician picks the ball up and tosses it
into the box; the ball is tossed back to him. The magician lowers the back cloth to
show the audience that the box is empty. He then raises the cloth and places more
objects into the box, they too begin to fly around and behave in a mysterious manner.
The magician tells the audience that he discovered how to make it all stop. You simply
stop believing. On cue all the objects fall to the ground and the back of the box falls
open revealing that no one is there.
METHOD
Despite what the magician says, there is another person in the box. The interior and
exterior walls are bent out to accommodate a person. The assistant is dressed in flat
black. The interior of the box is also flat black. This allows the assistant to step into
the body of the box and manipulate objects while the black cloth is raised in back with-
out being seen.
BACKGROUND
Black art looks best when it doesn't look black art. By hiding the assistant in the side of
the box, the magician is able to convince the audience that it isn't possible for someone
to be in the box throwing the stuff back out.
illusiontip
Buy lots of music
Your show will sound better the more music you listen to.
Movie soundtracks are often a good place to look for music that
can create the right atmosphere for your effects.
o
n w m a n
Assistant
hidden in
side of
cabinet
©
i I I u i o n
STACKED
EFFECT
A bellhop cart is wheeled on to the stage. A number of suitcases are piled onto it until
the stack is as tall as a person. The topmost suitcase is opened and the magician's
assistant is helped into the stack. She climbs into the top suitcase. The suitcase is
closed. All of the suitcases are unstacked - effectively vanishing the assistant. The
suitcases are re-stacked and the assistant emerges from the top.
METHOD
The top and bottom sides of all the suitcases (with the exception of the top of the top-
most case) are Spandex traps. This allows the assistant to travel all the way through
the cases into the base of the bellboy cart into a hidden compartment.
BACKGROUND
An effect that uses a lot of objects offers the opportunity for a lot of madcap choreogra-
phy. With assistants dressed as bellhops, the suitcases can be stacked and re-
stacked in a Keystone cops type fashion.
illusiontip
Pay attention to your visual themes
Do all your illusions look the same? Do you like it that way?
Are you mixing different design styles in a way that shouldn't be
done? Paying attention to your design tastes can help you get
a better idea of what you want your act to look like on an design
level. Looking through design catalogs can also inspire your
sense of taste.
o
Hiding space
in cart
/
u i o n
MOTO ASRAH
EFFECT
A sleek racing motorcycle is wheeled on to the stage by the magician. He and an as-
sistant cover the bike with a cloth. The headlights and taillights are visible through the
cloth. The magician gestures and the bike begins to float upwards. The magician
steps under the bike and it floats even higher. He grabs the cloth and pulls it away.
The bike has vanished.
METHOD
When the magician and assistant go to cover up the bike it's slid backwards through
the back curtain. An Asrah form in the shape of the bike is lowered down from the ceil-
ing. When the cloth is placed over the form, two small bright lights are turned on at the
front and back of the form mimicking the lights of the bike. Wires then pull the form up-
wards. When the cloth is pulled away the lights turn off and the form is pulled to the
ceiling.
The bike is slid backwards on a dolly painted flat black. The section of the curtain
where it travels through is also black. The area behind it must be in complete dark-
ness to prevent the audience from seeing this happening.
BACKGROUND
Motorcycles make for very cool stage props. The original idea for this effect was to lay
the assistant on top of the bike and then to float both her and the bike up Asrah-style.
That way would certainly work as well - provided your assistant isn't too tall.
illusiontip
Use video to train assistants
Videotape your rehearsals and have your camera man (or tri-
pod) focus on the behind the scenes stuff. This video can then
help you show your assistants exactly what needs to be done in
a quick fashion. Put together a videotape with the explanations
and let your assistants review it before they practice. You'll be
surprised at how quickly they will learn.
^^m
Backdrop
Asrah form in
shape of a
motorcycle \
Motorcycle being
slid out
0
i I I u n
INFERNO
EFFECT
The magician pushes a large metal container onstage. He tosses a match in the top
and flames erupt from it. He explains to the audience that the container is an incinera-
tor. He shuts off a propane tank connected to the incinerator and the flames die down.
The magician then opens the front door to the container and climbs in. An assistant
shuts the door and turns the propane tank back on. A match is tossed in the top and
flames again erupt from the top. After several moments, the flames are shut off and
the magician emerges unharmed.
METHOD
There are never any flames in the inside compartment of the container. There's an as-
bestos ceiling and a steel roof above the compartment where the magician is. The
flames are actually produced by rubbing alcohol. The top of the box is recessed by
several inches. Within that recess there are two trays with alcohol.
There are two propane tanks that actually are water tanks. Each one is connected to a
different tray. The first tray is lit the first time to show what the incinerator does. It is,
then put out when water is squirted into it through a pipe connected to the pressurized
tank. The second one works the same way.
BACKGROUND
Fire is very, very dangerous. This effect is described for demonstration purposes only.
Don't actually do it!
illusiontip
Have an "express" show
While the goal of every illusionist I've ever met has been to ac-
cumulate as much props and equipment as they possibly can,
having a whole show that can fit inside of a trunk that can be
flown a commercial airplane can provide an extra source of in-
come. Often you'll get the opportunity to perform a show where
either time or money would restrict the ability for your whole illu-
sion show to be shipped. An act that fits in a trunk can solve
this problem.
Hil
7
cTs
— Insulated roof
This effect is for explanation

purposes only!
e
INFERNO 2.0
EFFECT
The same effect as Inferno, except when the box is opened there's a charred skeleton
in place of the magician.
METHOD
The magician is hidden behind a piece of black fabric. The skeleton was hidden be-
hind the fabric when the magician first entered the box. The magician then switched
places with the skeleton.
BACKGROUND
This is based upon the Cremation illusion by Hercat.
illusiontip
Don't be afraid to reinvent your props
Sometimes we become so accustomed to looking at our props
in a certain way we miss out on alternative ways to use them.
Could you put a piece of black art in your Zig Zag and make it
an appearance? Could your Sub-Trunk be made into a Tip-
Over trunk? Would your Shadow Box look cooler if all the light
was green?
e
Black art
Front Back
This effect is for explanation

purposes only!
o
I I u n
VIDEO EFFECT
EFFECT
The magician offers to give the audience a backstage view of what goes on behind the
scenes in an illusion show. A large screen television and a video camera are brought
onstage. The magician puts the camera on his shoulder and begins to give the audi-
ence a video tour of the backstage. He walks back onstage and aims his camera into
the audience. He pans around and zooms into himself seated in the audience. The
camera person sets down the camera to reveal that a female assistant is holding the
camera.
METHOD
When the magician walks offstage an assistant dressed like him puts the camera on to
her shoulder. The magician enters the audience through the back entrance. The iden-
tity of the camera person is obscured because (1) The large format camera covers
most of the head, and (2) a light on top of the camera is turned on.
BACKGROUND
I love magic effects where the magician appears in the audience. I think they're even
better when they come as a complete surprise. In this effect the transition is unex-
pected and the revelation of the magician in the audience is built into the flow of the ef-
fect.
illusiontip
Have photos of all your props
Have photos of your illusions isn't just a good idea for insurance
purposes. A show producer or costume designer might want to
have an idea of what design schemes you're using. Having
photos ready can make their life easier when it comes to help-
ing you stage your act.
e
o= Qi
Q_
-n
CD
o nni €
nm
^ro
3
03
m *<
0
i I I u n
DEATH BOX
EFFECT
The magician is handcuffed and placed into a crate. The crate is locked shut then
hoisted a dozen feet in the air. A bed of swords is placed under the crate. After ap-
proximately one minute, the crate falls on top of the swords - skewered. The magician
appears from the back of the auditorium.
METHOD
At the beginning of the illusion the crate is resting on a platform. When the magician
climbs into the crate he actually climbs into the base of the platform. When the crate is
hoisted into the air, the platform is wheeled offstage where the magician exits and
works his way to the back of the theatre.
The bottom of the crate is made of two hinged panels. This allows the magician to en-
ter the platform and allows the sword to go through the bottom of the crate without ac-
tually breaking it.
The top of the crate is a cardboard panel that can be replaced every show.
BACKGROUND
This is a very utilitarian illusion. It's a basic escape and appear elsewhere type of ef-
fect. It's also served me quite well. I came up with it in a pinch and ended up using it
over 500 times in one six month period.
illusiontip
Have multiple music tracks you can work with
There's always the slim chance that when you perform in a re-
view show that a piece of music that you use in your act ap-
pears elsewhere in the show around you. Being able to use an
alternative piece of music will give you greater flexibility and
more choice if you want to be able to change the pace of your
show.
o
Secret compartment
in stairs
Trap under the

crate
^^fc
i I I u n
TIE CABINET
EFFECT
The magician steps into a small cabinet that covers his chest. The front doors are
opened and only his tie remains. The doors are closed and the magician exits the
cabinet.
METHOD
Behind the tie in the cabinet (which is permanently fixed) are two mirrors at a 90-
degree angle to each other and 45 degrees to the side walls.
BACKGROUND
This was the very first effect with mirrors that I came up with. When I was in high
school I made a version of it in my parent's garage. I soon abandoned it when I de-
cided that I really didn't want to wear a tie onstage (I ended up wearing sequins - I still
have nightmares over that one).
illusiontip
Take a look at where you are
If you find that you perform most of your shows outside of your
home state (or country) it's always a good idea to spend a day
or so getting acquainted with where you are - not to sight see.
You need to be able to find out where the nearest local equiva-
lent of a hardware store is located, the Taco Bell, toy shop and
fabric store. You may think asking the locals might help, but of-
ten they don't even realize what's nearby.
o
Tie
Front
Side view Tie
^^m
i I I u n
VIDEO HEAD
EFFECT
The magician places his head into a box supported off the floor. A television is placed
onstage next to him. The magician points to the television and his face appears on it.
He opens the front of the cabinet and his head is gone. He closes the cabinet and
switches off the television. He then opens the cabinet to real that his head has re-
turned.
METHOD
The magician's head is hidden behind a mirror in the cabinet tilted at a 45-degree an-
gle to the floor. The mirror reflects the ceiling
The head that appears on the television is a prerecorded video.
BACKGROUND
This isn't so much as an effect as much as the beginning of a routine. While your head
is on the television there are a lot of different possibilities for entertaining the audience.
With a transmitter backstage a portable television could be brought into the audience
for some good-natured heckling, or even some kind of mind reading effect.
illusiontip
Keep a Rolodex of contacts and keep them updated
I've used just about every kind of electronic organizer known to
man. They all have their uses - and can be put to good use -
but nothing replaces the hands on experience of a Rolodex.
Keeping an updated Rolodex on your desk is a great way to re-
mind you to keep in touch with people. Some business execu-
tives recommend that you make a daily habit of picking one
name a day and giving them a call, to keep you on everyone's
mind.
Mil
Mirror reflecting roof of box
Front Back
^^m
u s i o n b o o k
HOW TO CUT A PIECE OF ROPE*

*(and an audience member)
EFFECT
With the assistance of a member the audience, the magician offers to show a brand
new way of cutting a piece of rope in half. A volunteer is asked to step into a cabinet
that covers their waist section. They are then asked to clinch a piece of rope with their
teeth while the other end dangles by their feet. Once they are in the cabinet, the magi-
cian unveils a huge pair of scissors. The magician takes the scissors into the audience
where they are allowed to inspect them. The magician returns to the stage with scis-
sors. He places the opened scissors through a slot in the back of the box and pushes
them to the front. In one motion he brings the blades to together, cutting the rope and
passing through the volunteer. The scissors are pulled out of the box and set aside.
The volunteer is removed unharmed.
METHOD
There are two sets of scissors. The pair brought into the audience is real. The pair be-
hind the box in a slot to be switched out for the real ones has a large notch in them.
The surface of the fake scissors is covered with shiny vinyl.
The rope to be cut in half is actually two pieces held together with magnets. When the
fake pair of scissors comes together towards the front of the spectator, the magician
pushes the rope down to separate the two halves.
BACKGROUND
The most important part of this effect is the switch. Because the switching gimmick is
built into the illusion, there's little need for extraneous movement. An opportunity for
the switch can occur when the magician gets the volunteer to turn their head to the ma-
gician for a moment. At this point the real scissors can be dropped down and switched
for the fake ones. At the end of the effect, the scissors can be switched back when the
magician allows the spectator out of the contraption.
^^4
:
Wrwtf
s
(and an audience member)
Rope
I \
Magnets
Back
Gimmicked scissors
CHAINSAW MASSACRE
EFFECT
The magician steps into a cabinet where his sides can be seen. A masked man remi-
niscent of a slasher movie villain comes out onstage with a chainsaw. The chainsaw is
stuck right through the middle of the magician and dragged up and down. The blade is
pulled out and the masked man runs off stage. The magician emerges from the cabi-
net with no loss of blood.
METHOD
The magician slides his body out of the path of the (fake) chainsaw. It appears that he
is standing normally because the open side of the cabinet has a fake body form inside
of it that looks like the side of his body. The form goes from the ankle to the armpit.
The magician's real arm sticks out at the top of the form.
When the magician first enters the box, the front door is ajar in such a way to hide the
fake body.
The chainsaw blade is a piece of smooth plastic painted to look real. An electric motor
inside the motor housing vibrates the blade back and forth. The engine noises are pre-
recorded sound effects played over the house audio system.*
BACKGROUND
The principle for this effect really hasn't been used in that many other illusions. Actu-
ally, other than the thin model sawing, I'm not aware of any illusions that use a fake
body form of that represents the side of the person. I'm sure there are others though.
*From a distance, a broken chainsaw would look just as good as a functioning one.
lain
Front view
Fake chainsaw
The magician
twisting his
body out of
the path of
the chainsaw
^^m
u o n
LOCK UP
EFFECT
The magician's assistant steps into a small cabinet. The magician then proceeds to
"lock" the cabinet by shoving several gigantic keys through various slots in the cabinet.
The keys obviously penetrate the space the assistant should be occupying. Several of
the keys are removed. The front and back panels are opened to reveal that the assis-
tant has vanished. The magician closes the doors and removes all the keys. The
cabinet is opened and the assistant has returned.
METHOD
The assistant is hidden inside the cabinet in a hiding space created by the side and
bottom of the cabinet. The two keys that are still present when the cabinet is opened
pass between the assistant's legs.
BACKGROUND
I like illusions that use fun props. Giant keys are kind of cool because we're familiar
with the concept but not necessarily the application.
This effect could actually be themed as a kind of "escape" trick. The cabinet could be
presented as a giant lock and the person putting the keys into it dressed as a jailer.
illusiontip
Build cases for all your props
When you budget and build your illusions, don't forget to make
cases for them. The sturdier and more padded the better. All
though it doesn't seem like the kind of expense that shows in
your show, the fact that six-months later your props look almost
as good as the day they were made wilf certainly show.
^^»
Side trap
with notches
for keys
Hiding space
Folding trap
I I u o n
HOTFOOT
EFFECT
The magician sets a Hibachi onstage. He squirts some lighter fluid onto it and flames
erupt from it. The magician then takes off his shoes and socks and stands on the grill
over the glowing coals. After a few minutes of this (maybe performing some other
trick) the magician steps off the grill with feet that are not burned.
METHOD
The coals in the grill are rocks that are painted with fluorescent orange paint. Ash is
mixed in with them to make it look like a real coal fire. A small candle in the grill ignites
the lighter fluid poured onto it in the beginning. Blowing on the coals puts out the can-
dle.
BACKGROUND
This kind of endurance stunt/illusion that can be the backdrop for something else.
While the magician is on the coals he could do a card trick, make origami, or read
haiku. The idea is to create an impossible situation and use it as the wrapping for
something else.
illusiontip
Buy lots of foam padding
No matter how well padded your illusion cases are, keep some
foam padding on hand for extra safety. Scraps and left over
pieces can help keep casters locked in place and small items
from shifting.
^^p
Fake coals
^^m
u I O n
ACME FLATTENER
EFFECT
The magician lays down on a low table. A cartoon-style 5-ton weight is hoisted above
him. The weight is then dropped on him crushing him. Once the weight is lifted off
him, his body from neck to ankle is less than an inch thick. The magician is wheeled
offstage to recuperate.
METHOD
The magician's body sinks into the base of the table. A flat panel delivered from the
bottom of the weight sits atop his body flush with the table. The panel has a flattened
magician body on it.
The weight is made from foam rubber at the bottom. Notches in the bottom sides of
the weight accommodate the magician's neck, wrists, and ankles.
BACKGROUND
Cartoon violence is the best kind. Not because it isn't real, but because it's so much
cooler than real violence. Flattening someone like a pancake with a steamroller is so
much better than doing that in the real world.
illusiontip
Keep bandages in your toolbox
For many people, well for at least myself, the use of any tool -
even a sponge - frequently means the loss of blood. Keeping a
couple Band-Aids in your toolbox will save you a bloody couple
of minutes while you struggle to find out where the nearest first-
aid kit is.
^^m
Flattened
Flat gimmick
Bottom of weight
o
u o n
THE SHREDDER
EFFECT
The magician offers the audience a sneak peak at his a latest invention - a human-
sized paper shredder. The magician steps onto a platform and grabs two handles at
his feet. He lifts up with the handles and a section of the platform raises around him.
As the section is lifted, the magician's body is shredded like paper. The magician
stops at waist level then lowers the section - unshredding his body.
METHOD
The magician's body is concealed by two mirrors at an angle to each other. The seam
where the two mirrors meet is concealed by a piece of fabric that represents part of the
magician's shredded legs and pants. The mirrors and sides of the box formed as the
section is lifted are formed from flexible materials that start off rolled up in roller
shades.
BACKGROUND
Ever since the paper shredder was invented, various performers have found different
ways of using the device as a premise for an effect. This particular instance came
about when I was thinking of a way to cover up the seam where two mirrors touch.
This effect came about soon after. Because rolled up mirrors aren't the best reflectors,
having a pair of shredded pants in front of them appeared like a good way to keep the
audience from realizing mirrors were involved.
illusiontip
Bring books
The life of a globe-hopping illusionist involves spending a lot of
time sitting in airports and other places, just waiting. Always
bring more stuff to read than you plan on reading. When that
plan gets delayed you'll appreciate that extra Crichton or
Grisham novel you brought along.
^^m
Mirrors
Front
u I O n
BURST
EFFECT
The magician places a balloon into a cabinet. The cabinet is turned to face the audi-
ence. He claps is hands and the balloon bursts with a shower of confetti. The magi-
cian's assistant is now occupying the space of the cabinet.
METHOD
The assistant is hidden behind the seam of two mirrors concealed by the ribbon hold-
ing the balloon.
At the beginning of the effect the cabinet is turned away from the audience to hide the
seam and notch for the balloon. The magician places the balloon into the cabinet and
then turns the cabinet towards the audience. Inside the balloon is a handful of confetti
that masks the mirrors swinging open when the balloon is popped.
The back of the mirrors are covered in the same material as the inside of the cabinet
so that they blend into the side walls when they are open.
BACKGROUND
Mirror cabinets can be quite effective when the use of mirrors is masked well enough.
Sometimes this means using them in a manner where a mirror wouldn't seem to make
a difference. Other times it means using them in a way that uses them in some clever
technical fashion.
illusiontip
Put padding in your illusions
If you want to make the life of your assistants a little bit easier,
put some extra padding in the corners and other places where
some extra cushion won't increase the thickness of your prop.
They'll appreciate the fewer bruises.
©
Back
Assistant
Top view
Mirror Mirror
Balloon
Front
o
i t l u s i o n b o o k
BOWLING BALL THROUGH HEAD

EFFECT
The magician brings a large tube onstage. He places his head into it as an assistant
brings out a bowling ball. The ball is placed at one end of the tube and rolled to the
other side - passing through the magician's head where it falls to the floor with a bang.
METHOD
The bowling ball brought onstage by the assistant is a fake. It's a balloon. The real
ball, the one that hits the ground, is already inside the tube. The real ball is held in
place by a piece of wire running across the middle of the tube. When the magician re-
leases a catch, the bowling ball is allowed to roll free.
The performance of the effect works like this:
• The tube is brought onstage and the magician places it over his head (without
showing the inside.)
• The balloon is placed into the tube
• The magician releases the real ball while the air is let out of the balloon.
• The tube is shown empty
BACKGROUND
An oddball effect like this can be fun and useful because you can put it just about any-
place in your act. Even though it's a "matter-through-matter" effect, it's unusual
enough not to seem like anything else.
^^p
Balloon Bowling ball
\ ->———\
©
u o n
THE 200 WATT GURU

EFFECT
Explaining that he is going to take the tradition of Indian fakirs into the twentieth cen-
tury (while in the 21st), the magician unveils a bed of light bulbs. The bulbs are turned
on and the bed emits a bright glow. The magician carefully sets himself on the bulbs
and endures the heat and potential broken bulb in the back for as long as he deems
entertaining (Editor's note: 20 seconds?).
METHOD
The bulbs are the plastic ones that can be bought at a novelty shop. Inside each bulb
is a low voltage light that doesn't generate much heat.
BACKGROUND
The bed of nails is a pretty cool effect if you think about it. You really don't have to do
anything except lay down and hope your audience forgot their fifth grade physics.
Even if they realize that the more nails you have under you, the easier the effect is, it's
still neat to watch.
For this effect we're hoping that the audience will be amazed by your ability to tolerate
all the heat given off by the bulbs, plus the risk of breaking them.
illusiontip
Have your illusion sizes handy
Get out a tape measure and write down the measurements of
all your illusions both assembled and in their crates if you have-
n't already done so. In planning a show, most producers like to
know beforehand how much space they're going to need back-
stage for all the props and equipment. Having this information
readily available can make rehearsals go much smoother.
e
i
Top view of bed
'. -...jyiinii. - „.
i / \
Plastic light "N

bulb
^^m
LIGHT SUSPENSION
EFFECT
The magician sits on a stool in front of a panel of strobing bulbs. The stool is removed
and the magician remains suspended in mid-air with the lights strobing behind him.
The stool is returned and the magician steps down.
METHOD
The magician is sitting on a seat that is supported by the light wall. The arm that runs
from his seat to the wall has mirrors on either side that reflect the lights on either side,
creating the illusion that you can see behind the magician.
The seat the magician is seated on in the beginning of the effect has a back to it that
flips into place as the seat is removed. The back of the seat that supports the magi-
cian matches the back that flips out from the stool.
With a light controller, the strobing lights can be made to strobe in a cascading fashion
downwards. This creates the subtle effect that the magician is floating higher.
BACKGROUND
This effect could also be performed as a levitation. An electric lift could be connected
to the support that holds the magician. A slot between the bulbs would then allow the
support arm to travel upwards.
illusiontip
Put glow-in-the-dark tape on your props
To protect the bodies and costumes of you, your assistants,
and the stagehands, put glow-in-the-dark tape on the corners
and other important edges of your illusions. This will help pre-
vent somebody from stumbling into them in the darkness of
backstage.
^^m
DO O
Flip-up chair back

/
\
Support Stool
Side view
^^m
u n
JURASSIC TRICK
EFFECT
Under threat of being the first magician in history to ever be killed by a Tyrannosaurus
Rex bite, the magician is tied up and suspended over the teeth of a T-Rex skull. With
his head on one crate and his feet balanced on another, the skull is held open by a
flimsy stick. In the process of attempting to escape, the stick breaks and the skull
slams shut on the magician's body. With prehistoric teeth lodged in his chest, the ma-
gician turns to the audience and utters his last words; "Pretty cool, huh?"
METHOD
The skull is obviously a fake. The teeth in the skull retract into the jaw like a toy knife.
The stick is broken on cue by an offstage assistant directly in back of the skull with a
wire leading to the stick.
Since the going price for a T-Rex skull will set you back quite a bit, a skull made from
fiberglass or even paper mache will probably do the trick just as well (and not weigh a
ton).
BACKGROUND
This effect started as a trick with giant chatter teeth. Then it became an effect using
the teeth of a great white. Finally I settled on a T-Rex. Magic works like that.
illusiontip
Use non-slip tape on your illusions
If any part of your illusion has a spot where somebody walks on
or steps on, you should use a non-slip tape on it. This will
make you or your assistant less likely to slide off of the illusion
when they're not supposed to.
^^m
Retractable
teeth in jaw
of skull
^^«
I I u o n
STRETCH-O-MATIC
EFFECT
A large panel is pushed onstage. The magician sticks his head and hands through
slots in the panel. He then makes his hands and head move up and down one at a
time and in different directions, ostensibly stretching his body in an impossible way. He
then exits the panel a normal human.
METHOD
Behind the panel is an unseen assistant. When the panel is first brought onstage it is
revolved completely around. The assistant is hidden by a piece of black fabric cover-
ing the back of the panel.
When the magician steps into the panel, the assistant places their own hands through
the slots in the panel.
BACKGROUND
I was sketching some different ideas for a stretching illusion when I came upon a de-
sign that had a panel tilted backwards. I thought for a moment about this and realized
that would create a hiding space for a hidden assistant if you had a curtain hanging
from the top that was perpendicular to the floor. The space created by the curtain and
the inclined board would be sufficient for someone to hide behind.
illusiontip
Locking casters
An illusion without locking casters is worse than an illusion with
no wheels at all. If your illusion isn't locked into place, the
smallest movement (such as your assistant crawling into a hid-
ing space) will make the illusion shimmy in an un-magical way.
^^»
r i
Rear curtain
Hidden
assistant
Back Interior side view
^^»
I I u n
WATER BOY
EFFECT
Part of being an illusionist the magician explains, is the ability to perform magic any-
time, anywhere. This means a magician must constantly be trying to figure out how to
perform illusions with common everyday objects. He walks offstage to retrieve some-
thing. He walks back on carrying a water cooler. He places the water cooler cabinet
over his head. He reaches up to the water bottle and pushes it into the cabinet. The
front of the water cooler is opened, and the magician's head can be seen inside of the
water bottle. The door is closed and the cabinet is removed.
METHOD
A hole in the back of the water bottle covered up by a label allows the magician to
place his head into the bottle. Two mirrors at an angle inside the cabinet reflect the
walls and create the illusion that the magician's neck is totally inside-the neck of the
bottle.
BACKGROUND
Don't ask me where this one came from. Let's just say I had a very strange dream one
night.
illusiontip
Keep Windex on hand
If your props have any reflective or transparent surfaces on
them, you should keep window cleaner on hand - especially if
there are elephants nearby (trust me on this one). Before each
show give your props a good cleaning. This will keep them all
sparkly fresh and free of elephant snot.
^^n
T
Side view °P view Mirrors
Hole
Front
Hole for head
Label
^â
i I I u i o n
SPLIT
EFFECT
The magician's assistant steps into a small box set inside of a frame. Her hands
emerge from holes on either side and grab handgrips. The box then splits in the mid-
dle and the sides are pushed to opposite sides of the frame. The assistant's hands are
still able to move on command. The sides are put back together and the assistant
steps out of the box.
METHOD
A mirror at a 45-degree angle to the floor of the box conceals the assistant's body as
the two sides are pushed away from each other. The assistant has a foot in either box
and sits in the space created by the mirror.
BACKGROUND
This effect is scaled down version of an effect called Triplex that appeared in my book:
SOLO-X, illusions for the solo performer.
illusiontip
Keep lots of maps
Wherever you go, get a map. Mark down on that map where
your are and where everything else you may need is. Just the
act of doing this will give you a better familiarity with where you
are. Later on, you can give these maps to other performers
who will be performing in the same area.
c*
Mirror
J!
Front
Side section
Side view
^^m
u I O n
SPIKEY
EFFECT
The magician climbs inside of a rectangular cabinet with his hands bound. The cabinet
is closed and a wall of spikes is shoved through him and emerges on the other side.
The front of the cabinet is opened and the magician is unharmed.
METHOD
Two walls of spikes are used. The one that is visible in the box at the beginning of the
effect is pulled into the side wall when the cabinet is closed. The rod pushing the
spikes is then pushed to the other side of the cabinet and pushes out a second set of
spikes hidden in the wall.
BACKGROUND
This effect is a variation of an effect called the "Water Bowl Spike Mystery" in Rand
Woodbury's IllusionWorks 3. He based his effect on the "Appearing Water Bowl" effect
(thus the name). All I did was turn it sideways. Thanks Rand.
illusiontip
Use sheets to cover your props
Instead of throwing out that old bed sheet or comforter, shove it
into one of your illusion cases. After each show you can throw
it over your prop to keep the dust off. It will also help keep peo-
ple from using your props as expensive coffee tables.
^^m
1st set of spikes 2nd set of spikes

\ x
The magician
avoiding puncture
The rod slips through
the first wall
^^m
u i o n
SAMURAI
EFFECT
The magician places a screen in front of his body. An assistant holding a large samu-
rai sword draws the blade from one end of the screen to the other, effectively passing
through the magician's body.
METHOD
When the magician places the screen in front of his body he steps onto a platform that
is supported off the ground by two fake feet. When the sword is passed through him,
he lifts his left foot then his right foot to let the blade pass.
BACKGROUND
Sometimes you come up with a principle, but no effect to go along with it. I've been
playing around with the idea of using fake feet for a while and this is one of the illusions
I came up with.
NOTE
With a little bit more mechanical complexity, you could make it so the blade could pass
completely from one side to the other side - completely severing the box.
illusiontip
Have back up copies of your music on different formats
Using that CD burner, you managed to make a CD with all your
music. Did you make a couple extra CD's? Did you make a
MiniDisc copy? Do you have a cassette copy as well? While
almost every theatre has at the very least a CD player, these
things sometimes break. It's best to be prepared with multiple
formats.
Back view
Fake feet
Side view
©
u n
HOW TO CREATE A ZOMBIE

EFFECT
The magician shows an empty barrel and an empty crate. He drops some old clothes
into the barrel. He then pours in some radioactive goo and some blood. After a few
moments a zombie pops out of the barrel and runs into the audience to eat their
brains..
METHOD
inside the crate is a black tube with a zombie in it. When the barrel is lifted out of the
crate the tube remains there. The black tube is invisible because the interior of the
crate is also black. The bottom of the barrel has a Spandex slit in it that allows it to
slide over the tube. The crate has no bottom so it can be picked up off the barrel.
BACKGROUND
Zombie science has always fascinated me. While I have never been successful at cre-
ating my very own zombie, I follow the literature quite diligently.
illusiontip
Vacuum out your props
The insides of our illusions can accumulate quite a bit of dust
and dirt. Make it a habit to frequently vacuum out the interior of
them. This will help keep your costumes looking clean as well
as lesson the chance of getting an abrasion from debris that
collected where it shouldn't have.
^^m
m *
•_•
D
Inner black tube

Outer
crate
\
Slit in barrel
^^p
u s i o n b o o k
HOUSE PARTY
EFFECT
The magician rolls a cabinet on stage that has four doors. He explains to his audience
that this is his house. Because he's a magician, he lives in a magic house - a house
that's built inside out. He opens the front door to show that the inside of the house is
empty. He then spins the house to another side and says that this is the living room.
He opens the door and lets two people walk out who are dressed for a party. He spins
the house again and opens up the kitchen door. A guy carrying a sandwich walks out.
The magician spins the house again. He opens up his recreation room door. The ma-
gician explains that it's still not finished. Two stagehands carrying a ladder walk across
the stage while he explains this. He asks them if they've had a chance to work on it.
They explain that they'll get right to it and proceed to walk offstage. Before the stage-
hand at the end of the ladder has left the stage, the first stagehand emerges from the
box. He tells the magician that problem is solved. He continues walking out of the box
with the other stagehand following him.
METHOD
When the box is stationary, a mirror tunnel is pushed out from the back curtain to the
box. The assistants travel through this tunnel to the box to make their entrances and
exits.
The two stagehands make use of one real ladder and one folding one. As the first
stagehand exits offstage, he hands his end of the ladder to an offstage assistant. He
then runs around the back curtain and enters the box with a folding ladder (another as-
sistant holds the other end of this). When the last stagehand exits the stage he runs
around the curtain and into the box to carry his end of the ladder.
BACKGROUND
This effect is my Doctor Who variation of the Million Dollar Mystery. The principal was
originated by Walter Cerreta Jeans for his Silver Hat effect
^^»
curtain
rror tunnel
u o n
MUMMY-O-MATIC
EFFECT
The magician unveils his latest invention - The Mummy-O-Matic. He describes the de-
vice as an archeological tool used to fill empty sarcophagi with mummies. He's certain
that it will make him a billionaire. An empty sarcophagus is wheeled onstage. The ma-
gician aims his tool into it and shoots a stream of toilet paper into the relic. The sar-
cophagus is then closed. Within moments an angry mummy emerges to hunt down
the magician.
METHOD
The Mummy is hidden in a secret compartment in back of the sarcophagus.
The Mummy-O-Matic is a leaf blower with a roll of toilet paper on the front. The roll is
on a spindle so it can spin freely.
BACKGROUND
I used to play with toilet paper blowers when I was a kid. I could never think of any-
thing more useful for one than this. Too bad. It was a lot of wasted time...
illusiontip
Play with your illusions
Every now and then it's helpful to just monkey around with your
props and try to come up with new ideas. Put them on stage
and play some cool music. Take a look at them and move them
around. Do any new ideas come to mind? Do you feel silly?
Huh, monkey boy?
^^m
Hiding
space
I I u n
THE WIZARD
EFFECT
The magician steps into a cabinet with his face, hands, and feet visible. Four blades
are shoved into the cabinet. The middle section is then split apart. The audience can
see straight through the magician. The sections are pushed back together and the
blades removed. The magician steps out of the cabinet.
METHOD
The magician twists his body out of the way and to the side. A fake hand in one sec-
tion allows him to contort his body.
BACKGROUND
Let's just say that if Robert Harbin had never invented the Zig-Zag Lady, this effect
would never have existed in a million years (at least not in my mind).
NOTE
To make the performance of this effect easier, practice stretching. Increasing your
flexibility will increase your ability to make the illusion more convincing.
illusiontip
Keep extra parts in bank bags
Those zipper bags that you can get at a bank for making com-
mercial deposits are great for holding nuts, bolts and other
small parts. Whenever you have the chance, grab a few. Write
the name of the illusion on the bag. Also write what goes into
them (the sizes). If you should lose a bolt this will help you get
a replacement much faster.
^^m
The
The magicia
twisting his Blade with
body groove
Front
e
i I I u n
SQUEEZER
EFFECT
The magician steps into a cabinet that covers his midsection. He grasps two handles
on either end and shoves them inwards. His middle is squeezed to one inch thick.
The process is reversed and the magician emerges unharmed.
METHOD
Two mirrors conceal the magician's body inside of the box.
BACKGROUND
I like illusions that are self-contained and can be performed by one performer. Al-
though this effect is more of a quick special effect than an illusion, I think it's odd
enough for the audience to appreciate it.
illusiontip
Put your name on everything
Put your name on everything. Your props (inside), the cos-
tumes (inside), your toolbox, your crates, your music, your tools,
everything. So much stuff gets left behind in theatres you could
build a new act from all of it. By having your name on every-
thing it will make it easier for you and everyone else to keep
track of your stuff.
Front
Top view
Mirror Mirror
Magician
Back
^^m
u i o n
THE 360-DEGREE LEVITATION

EFFECT
The magician steps up to a platform in the middle of the audience. He picks up the
sheet covering the table and places it so the audience can see the supports under-
neath. His assistant lays down on the table. The supports are removed. The assis-
tant remains suspended in mid-air. The supports are replaced and the assistant is
helped off the table.
METHOD
The gimmick that supports the assistant is hidden by a fake that looks like the magi-
cian's leg. A support running from the table to the platform underneath is hidden by
this shell. Before the effect begins, the cloth covering the table hides the shell.
BACKGROUND
I'd been toying around with the idea of using a fake like this for a while, finally I came
up with the solution on how to keep the audience from seeing it before the effect be-
gins. Obviously you could have it hidden by one of the supports - but then you couldn't
perform this effect surrounded. The sheet covering the table solves two problems -
people looking at the effect before it begins and blocking the sight of anyone whom
might see where the gimmick attaches to the table
illusiontip
Keep extra parts
Always have extra nuts, bolts, and other spare parts. Also keep
wood putty, some sheet metal, and epoxy on hand. If you can't
find a part, you need to be prepared to fake it.
o
Metal support
Support for assis

tant
Front
I I u I O n
SIGNATURE PIECE
EFFECT
The magician has members of the audience inspect and sign a large sheet of paper.
The sheet is brought onstage and placed into a large frame sitting on a platform. Two
screens are placed on either side of the paper frame. The magician enters behind one
screen and exits the other. The screens are pulled away and the paper is unharmed.
The sheet is given to a member of the audience as a souvenir.
METHOD
The magician crawls under the paper frame. A secret compartment for him to crawl
through is formed by a mirror in the platform reflecting the ground as the back wait.
BACKGROUND
Matter penetration effects are interesting to me. In the mind of the spectator, the effect
is either the penetration of matter through matter, teleportation, or a restoration.
In this effect the audience not only gets to inspect the material that is passed through,
they have a hand in creating it as well.
illusiontip
Make cardboard mock-ups
All the illusion books tell you to make them, but people often ig-
nore it. Don't. Grab some cardboard and your assistant and
find out exactly how much space she or he needs. Don't try to
"eyeball" it and don't go by what's in the "plans" you bought. An
illusion works best when it is custom fit to the person who is in
it. So build a cardboard mock-up first.
^^m
DO m
Mirror
Magician
Side view
of platform
^^m
u i o n
SUPER BOX
EFFECT
A box is suspended off the stage floor by four cables. The front is opened to show that
the box is empty. Moments after the box is closed it is reopened to reveal an assistant
in the box. The box is closed and reopened again and she has vanished. The magi-
cian climbs into the box and closes it. Moments later all the sides to the box fall open
and the magician is gone. He reappears in the audience.
METHOD
Behind the back wall of the box is a black art tunnel that runs all the way to the stage
curtain.
BACKGROUND
This is a variation of the shadow box effect.
illusJontip
Black spray paint
A can of black spray paint can help you out of a lot of predica-
ments. A quick coat can cover a blemish on a prop, conceal a
fake that's supposed to be unseen, or help cover that gimmick
you just made out of coat hanger and masking tape.
Back curtain
Front Platform
Side view
^^m
u i o n
BURIED ALIVE
EFFECT
The magician's assistant is placed into a coffin. The coffin is then placed inside a
Plexiglas box. Dirt is shoveled onto the coffin until it reaches the rim of the Plexiglas
box. The magician stands on top of the dirt and lifts a sheet in front of his body. When
the sheet is lowered, he's switched places with the assistant. The sides of the Plexi-
glas box are lowered and the dirt slides away. The magician is found inside of the box.
METHOD
The coffin has an exit on the backside that leads to a trap door in the Plexiglas. The
dirt is actually lightweight pieces of foam rubber. In the event of any kind of problem,
anybody under the "dirt" should be able to crawl out of it with little trouble.
After the coffin is covered, the assistant exits through the secret tunnel. They then wait
for the magician to raise the sheet. When the sheet is raised, they switch places.
BACKGROUND
For this effect I tried to combine the Sub Trunk with a buried alive stunt. The problem
with the Buried Alive stunt has always been the danger factor. Several people have
lost their lives. Even in a controlled environment like the stage this still presents a
problem. By using pieces of black packing material, we create a situation that is little
more dangerous than being at the bottom of the ball bin at a McDonald's play land
(Maybe safer if nobody ever pees in your foam).
illusiontip
Videotape your show often
Just as soon as you think everything is going smoothly is the
time when you need to videotape your show and sit down and
actually watch it. Watch it and be hypercritical. What can you
improve? What are you trying to ignore? If this were some
other magician, what would you say to him or her?
^^m
a n d r e w m a y n . e
Top view
Tunnel
Front Back
Side view Front view
^^m
u i o n
CARD PILE
EFFECT
After producing a number of cards through sleight of hand, the magician reaches to-
wards the table where the cards have fallen and picks a few up. He drops them and a
pile of cards several feet high appears on the table.
METHOD
The pile is actually a pop-up tent with a bunch of cards glued to it. When the magician
reaches to the table, he undoes a catch that lets the tent pop up. Some cards that
aren't attached to the surface of the tent fall off creating the effect that it's a real pile of
cards.
BACKGROUND
The first time I saw one of those tents that folds into place when you release it, I
thought of a several different magic effects you could do with it. This is one of the
more simple and direct ones.
illusiontip
Always have a recommendation ready
We all know what it's like to get that last minute call from a
booking agent asking us if we can fly out tomorrow to go do a
show in the middle of nowhere. We also realize what it's like to
have to say no. Don't be afraid to turn last minute stuff down.
Also, don't be afraid to give a recommendation for someone
who might be able to do it. It's not creating competition if
they're already performing. You're performing a useful service.
If you help the booking agent out, they're likely to associate call-
ing you with being helped out. Calling you is good.
^^»
^s
Folded tent
©
I I u o n
CABINET OF PAIN
EFFECT
A large cabinet is pushed onstage. The cabinet is opened on the side. Inside of the
cabinet are rows of spikes. The spikes are so large, that when closed, there is no
room inside of the cabinet. With the opening facing the side of the stage, the magician
steps into the cabinet. The cabinet is closed on him. Moments later, the magician
emerges without losing any blood.
METHOD
When the cabinet is turned to the side, the wall of spikes on the front section is slid to
the back section. The two walls of spikes nestle together allowing the magician half
the space of the cabinet.
BACKGROUND
The Iron Maiden is a nasty bit of business. With its menacing stare and scary spikes,
it's been the centerpiece for torture chambers in many horror films. For this effect, I
thought it would be cool to create an illusion that was merely about surviving an Iron
Maiden-like device.
illusiontip
Listen to your audience
Listening to your audience is often a matter of reading between
the lines. If somebody doesn't like your music for instance, pay
attention. If it's an older person and you frequently find yourself
performing for the geriatric crowd, it's worth listening to. It's not
so much what they say, but why and who says it that's impor-
tant in getting feedback.
0
a n d r e w m n
Front Back
Nestled
spikes
©
u i o n
STONEHENGE
EFFECT
With the magician standing in the middle of the stage, a curtain is raised from the
stage floor to twenty feet in the air. A moment after the curtain reaches its highest
point it's dropped. Over the magician is an arch from Stonehenge.
METHOD
The arch (made from lightweight materials) is lowered from the rafters behind a black
sheet.
BACKGROUND
Stonehenge is a very mysterious place. It's mythic and easily recognizable. Therefor,
the perfect symbol to use in a large-scale magic effect. Because part of Stonehenge is
just as recognizable as the whole monolith, we have the opportunity to create a stage
effect around it.
illusiontip
Don't be afraid to go into the audience
In my mind, the stage is any place where the audience can see
you. Whenever possible I like to go right into the audience to
perform my platform magic. This often involves standing on
seats in the middle of the theatre. They don't seem to mind (the
audience - not the seats) and I enjoy being able to get a reac-
tion from being up close to them.
^^m
Black art sheet
/ Fake stone arch
— Curtain
u o n
SECRET OF THE PYRAMIDS

EFFECT
The magician shows the audience what may have been a block from the Great Pyra-
mid of Giza. He then explains that for many years there was quite a lot of controversy
over how the blocks were actually moved. He offers to show his audience his own per-
sonal theory. The block is covered with a tarp. The magician steps back and the block
begins to float off the table. Is it magnetism, the magician asks? Is it anti-gravity, he
wonders? The answer is no. He grabs the tarp and pulls it away. The block is gone
and several people dressed like ancient Egyptians are standing there instead. People
moved the blocks.
METHOD
The block is actually made of foam rubber painted to look like stone. Inside the block
are the four "Egyptians" who make it float simply by standing up. When the tarp is
pulled away, the block is folded up within it.
BACKGROUND
There have been all sorts of crazy theories about how the pyramids were built. So far,
the best-supported theory is that it was done through a lot of hard work.
illusiontip
Be yourself
If the magic business were like the music industry, 99% of all
illusionists would be Elvis impersonators. In magic Elvis is
David Copperfield. He has so influenced the way magic is per-
formed that it's next to impossible to watch a show by just about
any magician and not see his influence. The only performers
that come to mind that are doing their own thing, are almost al-
ways famous in their own right. They're aren't any famous Elvis
impersonators, so don't hope you can be a Copperfield imper-
sonator and be famous either.
^^m
P fth
Foam rubber block
"Egyptians"
under block
^^m
u o n
THE VANISHING BANANA

EFFECT
The magician places a banana on a table then approaches the audience. He asks
various members of the audience if he may borrow a handkerchief in order to make the
banana vanish. While he is doing this, a monkey reaches from behind the table and
attempts to steal the banana. The magician is oblivious to this. Finally, after the audi-
ence directs his attention to the table, the magician pulls the table cloth off to reveal
that there is nothing there - except an empty banana peal.
METHOD
The unseen monkey (an assistant wearing a furry glove and sleeve) hides in a secret
compartment when the tablecloth is pulled away.
BACKGROUND
I think the strongest kinds of illusions are the ones in which the magic is suggested in-
directly. Equally so, I like the idea of suggesting that something is there (a monkey in
this case) with out ever showing the audience. The conclusions they're left to are often
more interesting than the ones we can force upon them.
illusiontip
Keep notebooks handy
You never know when an idea might strike you. Nor do you
know when you might feel like elaborating on an idea. I keep
stacks of writing tablets around my place and in my briefcase so
I'll always have someplace to write my ideas down. Just doing
this alone will increase the number of ideas you have.
^^m
The Vanishing Banana
_ Assistant hidden in table

(with monkey arm)
^^m
u o n
THE ASRAH COFFIN

EFFECT
The magician's assistant is placed into a coffin. The coffin is then covered with a
sheet. Slowly the coffin begins to rise into the air. The magician walks underneath the
coffin and grabs one end of the sheet. He pulls at it and it falls to the ground. The cof-
fin has vanished.
METHOD
The assistant crawls into the coffin and then into a hiding space beneath it. When the
sheet is about to be draped over the coffin, the assistant folds the sides of the coffin
down - flattening it. An Asrah form in the shape of the coffin is picked up from behind
the table and placed it in place of the coffin. The form is then lifted to the ceiling via
wires.
BACKGROUND
Coffins are pretty scary and mysterious. They're a symbol that carries a lot with them.
Yet as an actual physical object - they're nothing more than a big box. which is kind of
ironic, because stage magic often seems like it's all about big boxes.
illusiontip
Got to Home Depot for ideas
Sometimes just walking down the aisle at Home Depot, looking
at all the materials and tools can give you ideas for the look and
design of illusions. Sometimes you see materials you wouldn't
have thought about using, but end up being the perfect choice.
^^m
Recess in table top
Back
Front
^^m
u I O n
SUPER DUDE
EFFECT
At the end of his show, with some cool music playing him off, the magician steps into a
phone booth. Moments later he shoots through the roof of the booth and flies out of
sight.
METHOD
The magician remains in the booth while a mannequin disguised as him is pulled
through the top of the booth to the ceiling. .
BACKGROUND
One of the coolest scenes in the movie The Matrix is at the very end; Neo makes a call
in a phone booth then steps out and flies straight up. Ever since I saw that, I thought
what a great way for a magician to make an exit. No hoops to fly through. No plastic
boxes. Just fly straight up into the sky.
illusiontip
Look at how the other arts portrait magic
As magicians we tend to think about magic from the point of
view of people within just the magic community. Often, an out-
sider's view can give you ideas on what would be an interesting
effect or concept. Take a look at how magic is portrayed in
books and in movies. Often it's done poorly, but every now and
then you see an interesting portrayal.
©
Wires
Mannequin
^^m
I I u i o n
BIRTHDAY CAKE
EFFECT
At a birthday, bachelor, or bachelorette party a sheet cake is wheeled out on a table in
front of the celebrant. After blowing out the candles a girl, guy, or whatever else would
be politically incorrect jumps out of the cake.
METHOD
The cake is hollow and made from paper. The table beneath the cake has a mirror at
an angle that creates a hiding space for the person jumping out of the cake.
BACKGROUND
I was once shopping at an art supply store when a woman asked me if I knew how to
make a cake for jumping out of. Maybe I was the kind of guy that looked like I would
know. I suggested that it might be easier just to make a box that looked like a present
instead. She thanked me then walked away. Later I had two thoughts; the first was
this illusion, the other was that maybe I should have offered to have made the prop for
her.
illusiontip
Watch MTV
Millions of dollars are spent on music videos to create certain
looks and images. In watching MTV you can get a lot of differ-
ent ideas for directions you can take the look and style of your
show.
^^m
Paper top
Back
^^m
u o n
CARD APPEARANCE
EFFECT
A large Queen of Spades is pushed onstage and spun around. The card is then ro-
tated so the front faces the audience. The magician snaps his finger and the image of
the queen rolls up revealing a woman standing in the middle of the card.
METHOD
While the card is rolled around, the assistant is hiding in a secret compartment be-
neath the card. When the card is rotated towards the audience; she climbs from the
compartment to a shelf in back of the image. A catch is released and the image rolls
up into the frame of the card.
BACKGROUND
Illusion shows often become one production after another. It can get quite tedious.
Sometimes it's a good idea to break up the box tricks with props that look a little differ-
ent. A giant card still has a magic theme to is, but isn't the usual "tall upright cabinet".
illusiontip
Use a year wallboard calendar
Planning things month by month is no way to make long-term
plans. Having a whole year in front of you allows you to make
long term goals and see what's coming up. It also encourages
you to maximize the time you have.
^^m
Front Back
Hiding space
Assistant
^^m
I I u o n
WALKING THROUGH A FISH TANK

EFFECT
A fish tank is standing center stage. The magician steps behind it. His body can be
seen behind the glass, water, and curious guppy. He raises a cloth in front of the tank
that doesn't quite cover the ends. He steps forward and passes straight through the
tank.
METHOD
The fish tank is divided into three sections. The sections look like they are part of the
same tank because the gravel and items in it appear continuous. Two aerators are
next to each other on opposite sides of where the left end compartment separates from
the middle compartment - this creates the illusion of one aerator (the bubbles look like
they are coming from one source). When the magician steps forward, the middle sec-
tion swivels to let him pass through. Once he has cleared the section, it swivels back.
BACKGROUND
In trying to come up with yet another matter-through-matter effect I tried to think of
what would be a very unusual object to pass through. I came upon the idea of a fish
take when I thought of the idea of using something that was so complex it would be
hard to figure out how it could be gimmicked.
illusiontip
Talk to comedians
Some of the best ideas I've gotten for my act have come from
comedians and not magicians. Talking to a good comedian can
give you a different perspective on your show. Since they tend
to look at entertainment in a slightly different way than magi-
cians do, they've often got they're own take on how to entertain
an audience.
Middle section swiveled

out of position
/
Back
\
Aerator
Front
^^m
u n
HYPERCUBE
EFFECT
The magician places a small cube within a frame inside of a larger cube. He explains
that this is a hypercube — a cube with an extra dimension. He offers a demonstration.
He borrows a watch from a member of the audience. The watch is placed into the
cube. The magician asks the owner of the watch to name a time. The magician re-
moves the watch and the time called out by the spectator is on the watch. He places
the watch back into the cube. He explains that the watch will now be sent far into the
future. The box is opened and the watch has been turned into a pile of broken metal
and glass. The magician apologizes and offers to send the watch even further in time
to when the watch can be fixed. A hand emerges from the cube holding the fixed
watch. The magician thanks the hand and returns the watch.
METHOD
The large cube contains a secret compartment formed by four mirrors reflecting the
sides, floor, and ceiling of the box. The box is also several inches deeper than it is
wide to allow an assistant to sit inside of the box and partially in the table beneath it.
The assistant moves the hands of the watch forward and replaces it with the pieces of
broken watch.
BACKGROUND
Hypercubes are actual theoretical mathematical objects. Salvador Dali's painting of
the Crucifixion of Christ depicts the cross as an unfolded hypercube.
illusiontip
Pay attention to your offstage performance
After you've spent all that time developing your persona, picked
out your costume and come up with all your one liners, think
about the image you are going to create for the people you work
with behind the scenes. If you've only thought through as far as
wanting them to think you're incredibly talented, you need to
take it further.
^^m
Back
Front
(4 mirrors)
u i o n
BIG SHOES
EFFECT
The magician explains that he is ready to move up to the big time. No more kidding
around. He's ready to do the big illusions. He tips over what suspiciously looks like a
giant shoe box and pulls back its lid. He closes it then tips it back into position. He lifts
off the lid and steps inside the box. He lifts his feet back out with giant shoes on either
foot. He takes a few clumsy steps and explains to the audience that he's not kidding
around. It's time to take him seriously.
METHOD
The shoes are made from foam rubber. The box is designed so that when it tips for-
ward a trapdoor covers the bottom of the box.
BACKGROUND
You just don't see enough giant shoes these days.
illusiontip
Learn a gratuitous display of skill
Many magic books say that you should avoid fancy flourishes
and anything that looks like "skill". The argument is that the
audience will assume that if you can do a one-handed shuffle
then obviously you're capable of performing an ambitious card
routine, etc., and therefor not really magical. This is a pretty
silly argument. Give your audience some credit. If your goal is
to convince them that you are physically incapable of perform-
ing any kind of trick, then we should dress like homeless peo-
ple, use walkers, and complain of our arthritis. Use some flashy
moves. People expect it. People like it. Audiences understand
juggling and that jugglers have certain skills. Making their clubs
float is not one of them. I think they'll appreciate the difference
between a one-handed cut and a card production routine.
\ /
e
Giant shoe
Front Back
Folded shoe
u o n
ENVISION
EFFECT
The lights are dimmed onstage. Fog begins to emit from the base of an upright frame.
The magician steps to the frame and touches his finger to a corner. As he moves his
finger a laser light follows it. The magician traces the shape of a star in laser light. He
steps back and the image flickers. A woman appears where the shaped had been.
METHOD
The woman is hiding in the base of the frame. A fog machine allows the light of a
small powered laser to be seen. As the woman stands up she uses a black cloth to
shield her. The cloth is dropped when it is time for her to appear.
The shape is created by four mirrors in the frame. The magician creates the shape by
holding his finger in front of the laser light. As he touches each point on the frame, the
laser follows.
BACKGROUND
This effect is a larger version of my Holo-Graphic Artist's Dream that appeared in Paul
Osborne's book Illusion.
illusiontip
Volunteer
Besides the alleged karmic benefits of volunteering your serv-
ices for worthwhile organizations and charities, there's also the
potential for financial reward as well. The kind of people chari-
ties work to attract to their benefits are also the kind of people
who drop large amounts of money on parties and events where
entertainment is frequently hired.
^^m
Table
u s i o n b o o k
MOTO-X
EFFECT
The magician and his assistant push a large box on stage. The front of the box is
open. The magician's assistant steps into the box. A pyro goes off and in a flash the
assistant is transformed into a motorcycle.
METHOD
The assistant hides in a compartment under the box. The motorcycle is hidden in the
beginning behind a black roller shade.
• The interior of the box is flat black
• Polished metal crosspieces run across the front of the box
BACKGROUND
This effect is designed as a self-contained motorcycle production that can pack flat.
NOTE
Let's face it, motorcycles, kind of like cigarettes are cool. Cool in that live fast die
young with emphysema and a limp way. In my opinion (which you've had to put up
with quite a bit since you picked up this book) motorcycles and cigarettes should be re-
served for stage and screen. They should be a kind of special effect for profession-
als - not something for normal human beings. Let me give you an example; super he-
roes like Spider-Man and Batman are cool. But if you ever met a billionaire recluse
that spent his evenings running around in Spandex you'd think he was nuts - or from
South Beach. My point is, I've come up with a lot of different effects with motorcycles,
but I'd never actually drive one off stage, nor smoke, or wear Spandex for that matter
(unless I was fighting crime).
^^m
Side view
interior
Roller shade
Front Back
Motorcycle
^^p
I I u o n
SHATTERMAN
EFFECT
I'm not quite feeling like myself today, says the magician to his audience. He decides
that he needs to take a mini-vacation - from himself. A cabinet is brought on to stage.
He introduces it as his separation anxiety machine. It separates you from your anxiety.
The cabinet is split in the middle. The magician steps into it and it is closed around
him. The sides of the box are pulled apart splitting the box into four small sections.
The sections are pushed back together and the magician steps out of the cabinet.
METHOD
When the magician steps into the cabinet he crawls into a secret compartment beneath
it.
The sides that are split apart have Spandex sides on the inside to allow the magician
to slide into the base.
BACKGROUND
This effect came about when I tried to come up with a "not-so-clean" sawing illusion.
Instead of tidy little boxes, I wanted an illusion where the victim was split into jagged
sections.
illusiontip
Keep a professional journal
I wish I could remember all the shows I've done (well, most of
them anyway). I now keep a journal of all my professional en-
gagements. This serves two purposes. One purpose is obvi-
ously nostalgia. The other is more practical. By looking back at
where and when you performed, you can get a pretty good idea
of what your market is really like. Don't trust you subjective
memory, put it down on paper.
^^m
SHATTERMAN
Spandex fabric on
interior sides
The cabinet closed
^Â
i i i u I O n
THE KEEP
EFFECT
A metal locker that is open on the front is unlocked. An old trunk is lifted from it and
placed on its lid. The trunk is tilted forward and shown empty. The trunk is closed then
opened again. The magician begins to produce pieces of pirate treasure. As he does
this he mocks the legend of the pirate that protects the treasure. The magician tries to
pull one last piece of treasure from the trunk and a pirate emerges. The pirate takes
the treasure back and kills the magician.
METHOD
The pirate and treasure are hidden behind a black art panel in the locker section. A
Spandex trap in the top of the locker and a conventional trap in the bottom of the trunk
allows him to travel from his hiding place to the trunk.
BACKGROUND
I wanted to perform a production effect using a trunk. A tip-over trunk wouldn't have
worked in the given situation because of the sight lines, so I came up with a modified
version of the Square and Circle effect.
illusiontip
Read about the history of magic
The history of magic is filled with every kind of character and
personality. The amount of creativity that has been contributed
to our art is incredible. By learning more about the different di-
rections that magicians in the past took the art, you might be in-
spired to try radically news ones of your own.
^^m
Spandex trap
Trap doors
\
Side view
^^m
u i o n
THE TIME THINGAMAJIG

EFFECT
The magician introduces his time machine. He places a candle on a table in the ma-
chine and closes the door. He spins the time dial and re-opens the door. The candle
is almost completely gone. Next he places a small plant on the table. He closes the
door and spins the dial sending it into the future. He opens the door and the plant is
three feet tall. He does a few other demonstrations then places a piece of slime mold
on the table. He spins the dial way into the future. A lawyer exits the cabinet.
METHOD
The Time Machine is actually a Modern Cabinet. The assistant is hidden behind a fake
wall.
BACKGROUND
I like illusions that lead up to something unexpected.
NOTES
Instead of a lawyer, you could produce a theatrical agent.
r A
illusiontip
Use lots of smoke
Smoke machines are a bit of a cliche, but they do add a lot to
creating mood in a show. The smoke creates depth and adds
color to the air by reflecting the gelled lights. Look at a few ren-
aissance paintings to see how the masters created a sense of
depth by changing the way "air" looked.
©
Secret compartment
/
Funky hypnotic
background
Side view
^^4
u n
LIGHTHOUSE
EFFECT
On a thin platform in the middle of the stage a curtain is raised. A light begins to shine
from within the curtain. The curtain is dropped and a lighthouse is standing on the plat-
form.
METHOD
The lighthouse is collapsible. Prior to its appearance, the lighthouse is under the plat-
form behind a black art fake.
The lighthouse is made from several nested cylinders. A strobing light is located at the
top. The lighthouse is produced by a cable lifting the cylinders from under the platform.
BACKGROUND
I was trying to come up with an idea for a large production item that could inherently
fold down small. Almost moments after I began to think about that, I pulled into a park-
ing space and saw bumper sticker for a lighthouse. Serendipity.
illusiontip
Take a different path
It wasn't long after David Copperfield and Kevin James popular-
ized the "Snow" effect that soon just about everyone was doing
it. If your goal is to look like every other magician, follow the
herd. If your goal is to define your own magical experience, run
away from the herd. The easiest way to do that is to avoid do-
ing whatever everyone else is doing.
^^m
D 1UO
Collapsible
segments -
e
u s i o n b o o k
TWINZ
EFFECT
The magician announces that he's found a radical new way to solve the problem of hir-
ing new help. Instead of putting ads in newspapers or on the Internet, he simply finds
the best talent on his staff and replicates them. The magician and his favorite assistant
step on to a platform. The magician covers his assistant with a large sheet. Under the
sheet, the assistant appears to split into two. The sheet is pulled away and there are
now two assistants.
METHOD
The second assistant is hidden in a secret compartment in the table. The compart-
ment is formed by a mirror reflecting the bottom as the back of the table.
When the sheet covers the first assistant, the second assistant steps out of the com-
partment and up to the table behind the first assistant.
BACKGROUND
When you cover an object with a sheet, it takes on new properties. It's very easy to
make two people look like one by having one stand behind the other. Having them
both then stand side-by-side creates a unique effect.
NOTE
It's not at all necessary to use real twins for this effect. Any two assistants in identical
or contrasting costumes will work fine.
^^m
Front Back
Mirror
Side view
The second assistant

standing up behind
the first
^^m
u i o n
SHAPESHIFTER
EFFECT
A cube is sitting on a platform in the middle of the stage. Each side of the cube has a
different shape on it: a star, a circle, a square, and a triangle. The magician spins the
cube to one particular shape and covers the cube with a cloth. He pulls away the cloth
and reveals an assistant in the cube. She climbs out and he covers the cube again.
He produces three more assistants the same way as the first.
METHOD
The first two assistants are hidden in a secret compartment beneath the cube. The
other two assistants are hidden in the platform beneath the table that supports the
cube.
After the first two assistants exit the top compartment; the next assistant climbs from
the base to the table. The last assistant follows the third.
BACKGROUND
To keep one production effect from looking like the last one it's a good idea to think
about a particular theme for each effect. For this effect, the assistants can be cos-
tumed to match the particular shape that they are produced from.
NOTE
To add an extra dimension to this effect, you could mount the whole thing on top of a
rotating platform. The cube would then automatically rotate to each side.
If you make the base a little large, you can fit several mole people inside of it.
illusiontip
Use technology
It's amazing how little many magicians know about technology.
There's a well known "psychic" who has fooled several name
magicians with a simple piece of technology that a high school
chemistry teacher could explain to you. Get catalogs from sci-
entific supply companies. Talk to scientists. Find out how you
can put the latest advances to use.
^^m
Space #1
Space #2
Side view
^^m
u s t o n b o o k
ASTRONOMY
EFFECT
Standing on a platform, the magician picks up a curtain backdrop and hangs it from
two poles one either side of the platform. He snaps his finger and tiny stars begin to
light up on the backdrop. The magician explains that the very first astronomers were
often magicians. The constellations in the sky were named for objects that they saw.
He points to the Big Dipper. He reaches into it and pulls out a ladle. He then points to
Pisces. He produces a rubber fish. He drops the curtain to show that there is nothing
behind it. He raises the curtain and points to Virgo. The lights fade out. He lowers the
curtain and a woman dressed as Virgo is standing behind the curtain.
METHOD
The assistant dressed as Virgo is hidden in a secret compartment in the table. She
hands the production items to the magician through slits in the curtain.
The curtain is made from sewing tiny lights into it. A controller in the base of the illu-
sion allows the assistant to control them.
BACKGROUND
Planetariums are some of the most mysterious places in the world. You sit in a chair in
a room and the universe is presented to you. That's real magic to me.
NOTE
Instead of sewing lights into the curtain, scenery companies sell curtains that have fi-
ber optic lights built into them. You can have the curtain custom made with whatever
design you want.
^^m
astronomy
Back curtain
Hiding compartment
Slit
Front Back
Slit
Side view
^^4
u i o n
TRUCKIN'
EFFECT
At the beginning of the show the curtains part and a mini moving truck drives onstage.
It makes a few circles then comes to a stop with its tail facing the audience. The back
door rolls up and shows that the truck is empty. The door closes. The truck moves
center stage. The top of the truck opens up and the magician pops out.
METHOD
The magician is hidden in a compartment behind a mirror in the storage area. The
truck is powered by an electric motor that drives the front wheels. The back door is
open and closed manually by the magician.
BACKGROUND
This is another variation of my magical Toy Car production.
NOTE
It'd be pretty cool if you put your magic show logo on the side of the truck. If guys like
Penn & Teller and Copperfield can have trucks with logos, why not the rest of us?
illusiontip
Steal big
Magicians need to learn to steal from sources besides other
magicians. What are other entertainers and forms of media do-
ing? How can this inspire you? How far can you extend the
idea of magic?
^^m
Secret compartment
u s i o n b o o k
MAYNE'S MIRROR
EFFECT
A tri-fold screen is placed onstage. The middle section contains a mirror. The two
flanking sections are black. The magician places a Spandex trap on the front of the
screen then revolves it around to show the backside. The screen is rotated back to-
wards the audience. The magician steps behind it then walks through the trap - pene-
trating the mirror.
METHOD
The tri-fold screen has a fourth panel. The fourth panel is hinged to the middle screen;
it folds flat against the side panel when the screen is revolved. The panel behind it
contains a mirror with a hole in it covered by a Spandex trap that matches the one
placed on the mirror on the fourth panel.
When the effect begins, the fourth panel (with the solid mirror) is in front of the middle
section. Once the mirror has been shown solid and the trap placed on it, the screen is
revolved. In rotating the screen the fourth panel is swung to the side (its back matches
the side panel). The backside is shown to the audience. The screen is then rotated
back into position. The magician steps through.
In constructing the mirror, I highly recommend either a Plexiglas or Lexan. A glass mir-
ror would be too heavy.
BACKGROUND
Mirror penetrations are pretty cool effects. The object of this one is an illusion that is
inexpensive to build and not that difficult to transport.
NOTE
They key to making this illusion work is in the execution of the movements of the
screen. The screen should be picked up and repositioned in a convincing manner-
not as if you have to move it to swing the gimmick in place.
Like doing a hoop pass on a levitation, the moment that is the most weak should be
presented as being completely natural and not the least bit suspicious.
^^m
4th panel
[_ Spandex
panel
4th panel
^^m
MORGUE ROULETTE
EFFECT
Two volunteers are brought on stage. One is sent offstage while the other is asked to
pick a weapon from a table. They have a dagger, a machete, and butcher knife to
choose from. Three bodies covered with sheets are pushed on stage. The spectator
is asked to pick one body. They are then told to shove the weapon into the chest of
the body they choose. The weapon goes in and with a sickening sound. The magician
pulls back the sheet and reveals the other spectator. Oops.
METHOD
When the first spectator is sent backstage they are placed onto a special gurney. The
gurney has a recess in it that accommodates a large portion of their body. A body
shell is placed over them and a sheet on top of the shell. The shell protects them from
harm and allows the weapon to be stuck into it.
The weapons are as harmless as possible. They're novelty store toys made to look
menacing.
The magician forces the second spectator into their selection. The spectator is asked
to pick two bodies. If the victim is remaining the spectator is told that's their choice. If
the victim is one of the two bodies picked, the spectator is asked to point to one. If
they point to the victim, that's announced as their choice. If they point to the other
body, that one is pushed aside.
BACKGROUND
The whole point of this effect is to put the spectator into the position where they are
lead to believe that they killed someone. Fun.
NOTE
Remember; when in doubt, use blood. Lots and lots of gory blood.
^^m
ue roulett
Body shell
^^m
PORTABLE ELVIS
EFFECT
I've been spending way too much time and money on the Internet, says the magician.
And no, he doesn't mean waiting for naughty pictures to download. He's got DSL,
there's no waiting. The magician has been spending too much time on an auction site
bidding on useless things. But he's done with that he tells his audience. He bough the
coolest thing ever. The magician sets a briefcase on a table. He opens the case and
spins it around so the audience can see that it's Elvis's head. Elvis smiles to the audi-
ence and answers a few questions. The magician says goodbye and closes the case.
METHOD
"Elvis" is hidden in a mirror table (a sphinx table). He pops his head up through a trap
in the table and a trap in the briefcase.
The table has two mirrors at a 90-degree angle to each other. The mirrors are at a 45-
degree angle to the sides of the table. The point where they meet is at the center of
the box. Looking down, the mirrors form a "V" pointing to the audience. A table leg is
used to hide the seam.
You can either use solid panels for the sides of the table or use a table cloth. If you
use a cloth, be sure to keep "Elvis" from hitting the sides of it (A young Elvis would be
better than an old Elvis).
BACKGROUND
It's Elvis! A the impact of an effect can be increased by the symbols that it uses. In
pulling Elvis out of a briefcase instead of some schmoe, you've made the effect much
more memorable. You made Elvis appear...
NOTE
It's not the real Elvis. He's much to busy to sit inside of a stupid box for your trick. Do
you really think Elvis is going to jump at the chance to be your lackey? Come on! Get
real. Elvis is to busy fighting international crime syndicates and protecting the natural
habitats of Bigfoot to hop on a plane to be in your show as some kind of throw away ef-
fect. That is unless you have a peanut butter sandwich to offer him...
Table top
Slit
Mirrors
Top view
(interior)
Side view
^^m
u s i o n b o o k
LUCKYHAT
EFFECT
In the middle of one of those gaudy production numbers that so many of our illusionist
brethren are forced to perform in, the magician steps into a large top hat. He lifts the
hat up around him (there's no bottom). He then sets the hat back down. Two assis-
tants dressed like Playboy bunnies (or the politically incorrect equivalent) are pro-
duced. The production number continues.
METHOD
When the hat is lifted, the assistants remain unseen because they are sitting on an ele-
vated platform. The support for the platform has a curve in it that goes around the ma-
gician and into the platform beneath him.
The construction of the hat doesn't have to be very complicated. With the exception of
the point where the magician steps into it and out of it, it doesn't have to be very sturdy.
The brim around the hat should be narrow at the front and in the back - that way the
magician doesn't have to step over a very large area in order to get in and out.
BACKGROUND
In this post 90's politically correct era, this effect seems very anachronistic.
NOTE
I'll be the first to admit that this trick looks a little bit cheesey. But cheese sells. Espe-
cially American cheese. One thing I've noticed when I perform in Japan is that the
Japanese like cheesey American things. Top hats (actually European - but that's not
my point) and girls dressed like Playboy bunnies are the kind of thing nightclub audi-
ences like. And who am I to argue? Now that I think about it, the Playboy bunny thing
doesn't sound all that bad. That Hugh Heffner guy was onto something.
THE INVISIBLE SALOON

EFFECT
The magician puts on a cowboy hat and tells the audience about his interest in the old
west. One of the things he does when he travels out west is visit old ghost towns. The
curtains open up to reveal what was left at one town he visited, a set of saloon doors
on top of a platform. He tells the audience that the saloon was supposed to be
haunted. But it burned down. All that was left was the doors. The haunted doors.
Spooky. The magician steps behind them. He holds a sheet in front of the doors. The
doors open and something fills up the sheet. The old west ghost steps off the platform.
The magician holds up another sheet and produces another ghost. The ghosts take off
their sheets and reveal themselves as assistants.
METHOD
The "ghosts" are hidden in the platform beneath the saloon doors. When the magician
lifts up a sheet an assistant crawls from the base into a position behind the doors.
They then step through the doors and into the sheet.
The sides of the saloon doors have walls that act as baffles. This covers the sight lines
of the effect from extreme angles.
To make the effect look convincing, I suggest that you make the doors look as aged as
possible. The platform should also look well worn. This will keep the illusion from
looking like some polished aluminum magic effect and more like something you really
did drag out of the desert.
BACKGROUND
This effect started out as a version of The Million Dollar Mystery. It can be performed
as a standard production illusion, or at the end, the magician can switch places with a
third ghost.
NOTE
As a quick gag, at one point during the illusion, perhaps when the magician first begins
to tell his story, a piece of tumbleweed should roll across the stage. Trust me on this
one. It'll work.
Base with compartment
Side of saloon doors

u s i o n b o o k
RAZORS
EFFECT
The magician tells his audience that he is going to illustrate one of his nightmares
come true - razor blades. Since someone has to stand outside of the illusion and
someone else has to go inside of it, he bravely offers his assistant the opportunity to be
the one on the receiving end of the nightmare. A frame is pushed onstage. The magi-
cian's assistant steps inside. The front and back are closed. The magician places
several large razor blades through the sides of the illusion. The front and back are
opened - the assistant is gone. The doors are closed and the blades are removed.
The doors are opened again and the assistant steps out.
METHOD
The assistant is hidden in the side wall and ceiling of the illusion. The razor blades
pass between the assistant's legs.
BACKGROUND
This is my first attempt at a giant razor blade effect. As much as I though about it, I
really couldn't come up with much else. Sure you could use them instead of the cookie
sheet blades in a Zig-Zag lady effect. But where's the fun in that?
NOTE
To make this effect extra scary, not to mention gory, you can have your assistant apply
fake blood to the blades as they are pulled out of the frame. This will not only give
them something to do instead of napping on the job, it will freak out your audience.
And that's a good thing.
Assistant
Front view
(interior)
^^m
u s i o n b o o k
MONA LISA
EFFECT
The magician tells the audience that despite his occupation that he's a man of culture.
Avoiding any jokes about yogurt or yeast (Get it! I kill me - wait that wasn't funny, it's
getting late) he tells the audience that he has been putting together a bit of an art col-
lection. Nothing fancy, just stuff that rolls up or comes with a staple in the middle. He
tells the audience that he would like to share with them his latest acquisition and dis-
covery. He introduces his genuine authentic fake imitation of Da Vinci's Mona Lisa.
He explains that he has developed a new technique for finding artwork underneath
original paintings. He holds a sheet in front of the painting. He lowers the sheet and a
woman dressed as the Mona Lisa is standing in front of the painting (the Mona Lisa is
no longer on the painting).
METHOD
The assistant is hidden inside the base beneath the painting. When she stands up be-
hind the painting she revolves the painting to the other side (which has the Mona Lisa
without the Lisa).
The base that she hides in has a gradual incline to it from the front towards the back.
This incline is there because the base is never spun around.
The sides of the frame have panels that act as baffles that cover the sight lines of peo-
ple on the extreme sides of the audience.
BACKGROUND
I've always wanted to do a magic effect with a famous piece of artwork. Someday I
hope to put my Paulina Poriskova poster to work in this regard. Until then, I have other
uses for it.
NOTE
You could obviously use some other work of art besides the Mona Lisa. Unless you
were thinking Cezan, that velvet painting of dogs playing poker looks much better next
to the window of your double-wide than on stage.
Side panel
Front
Hiding space
Side view
u s i o n o o o K
THE IMPOSSIBLE CABINET

EFFECT
The magician pushes a large cabinet onstage. He opens up the inside to show the
empty interior. He closes the cabinet. He opens it again and lets two people step out.
He closes the cabinet and reopens it again - two more people step out. This is re-
peated with the eventual production of eight people. The curtains begin to close - the
magician stops the curtain and pushes the cabinet back onstage. Twenty people step
out...
METHOD
Two cabinets are used. The first cabinet has several compartments for hiding people.
When the curtain is about to be closed the first cabinet is pushed off. The magician
steps in back of the curtain and pulls out another cabinet identical to the first. This
cabinet doesn't have any secret compartments. It simply has tons of people shoved
into it.
BACKGROUND
This effect borrows liberally from Guy Jarrett and Rand Woodbury's later interpretation
of the Jarret Box, called Geometrically Impossible. I'll admit that when I first saw
Rand's effect in IllusionWorks, I was skeptical. Very skeptical. I will now say with no
amount of shame that it's my favorite effect out of the whole book. You have to see it
to believe it. What starts out as your basic put the girl in to the cabinet and do despica-
ble things to her effect, turns into an incredible production illusion. Just when the audi-
ence gets done clapping for a clever effect, bam!, Rand pulls several more girls out of
the cabinet - and in g-strings too! What a guy.
NOTE
One of the manufacturing tricks that Rand used on his Geometrically Impossible and
that I'll tip here (it's been used before, but Rand showed it to me first) is cheating an
inch or more on the sides. This is done by making the side walls out of sheet metal
that are bulged outward. If you then cover them with flat black material, you've added
several inches of hiding space without increasing the apparent size of the illusion. This
works for to reasons; the obvious one being that you increased the interior space, the
other reason is that by making the sides flat black, you de-emphasize their presence.
^^m
The first cabinet
Eight very friendly people

u s i o n b o o k
NEWASRAH
EFFECT
The magician asks his audience if they've ever woken up from a dream where they felt
they were falling — only to wake up with a jolt as if they just fell. He explains his latest
theory. He tells the audience that he suspects that we may actually levitate when we
dream. Because he has conditioned himself to go immediately asleep in the presence
of darkness, he offers an experiment to prove his dream theory. The magician places
himself into a trance. He lies down on a table. Two assistants cover him with a sheet.
He then begins to float upwards. Before reaching the top of the stage the sheet falls to
the ground. The magician has vanished. Moments later he appears at the back of
auditorium.
METHOD
When the magician lies down on the table he rolls of it and down a ramp that leads un-
der the back curtain. An Asrah form is then placed into position behind the sheet. The
sheet is placed on the form. The form is lifted to the ceiling via wires. The sheet falls
off the form because of a thread running from the sheet to the table. (When the form
reaches a certain height the thread pulls the sheet of it.)
BACKGROUND
I've always wanted to do the Asrah effect where I made myself appear. Vanity is often
the driving force behind my illusions.
NOTE
This effect could also be accomplished by using the standard Asrah table with the se-
cret compartment inside of it. My suggestion here of using a ramp that leads to the
backstage serves several purposes. The first one being the elimination of the need to
push anything off the stage. The second one being that the magician's ability to travel
around the theatre to the back of the auditorium quickly is greatly enhanced by the fact
that he can already be on his journey by the time the sheet is placed over him. The
third reason is that because this effect is often performed very close to the back cur-
tain, it provides a great opportunity to take advantage of the situation of the staging.
My fourth and final reason (also the least important) is that if you find yourself perform-
ing this effect for magicians (a situation I try to avoid), they'll be waiting for the table to
get pushed offstage. When that doesn't happen, they're very likely to be caught by
surprise because of their mistaken assumptions.
^^m
M ro
Asrah form x Back curtain
Front
Ramp
Side view
SHADOW CUBE
EFFECT
With some really cool music (I mean really cool), two assistants open up the front of a
box on top of a stair platform. After showing that the box is empty, they close the front
of the box and drop a work light into it. The light begins to flicker and the form of a per-
son begins to appear. The door opens and the magician steps out. He closes the
front of the box and gestures towards it. The shadows of two people begin to form. He
opens the box and produces two assistants.
METHOD
The magician and his assistants are hidden inside the stair platform. When it's time for
them to appear they climb from the platform to behind the light. They create the weird
shadows by moving the light around their body.
BACKGROUND
This is actually one of the first big illusions my father and I built. The stair design was
all his. You could fit six people in that sucker. They were insane. Thanks dad.
He designed it so it could break down into three sections that would fit inside of a sta-
tion wagon. Of course, when my parents got rid of the station wagon I had to find a
new way to transport it. Eventually I ended up replacing the staircase with a single set
of stairs that Rand Woodbury lent me. I would have kept the big stair case if only it
wasn't as big as my apartment.
NOTE
You don't have to use the staircase for only this effect. I found that when it came time
to replace an illusion in my show, it was pretty simple to stick something else on top of
the stairs. I've used it for my Death Box, an appearance behind a curtain, and as a
simple platform to just elevate myself off the stage.
Actual space
Overhead view of the

inside of the stairs
^^»
Glossary of terms
ASRAH
The Asrah illusion was invented by Servais Leroy. The principal behind it is a wire
form in the shape of a person. When covered with a cloth, the form makes it appear
that someone is under the cloth. The form is painted black and made from very narrow
gauge wire. From a distance and under the proper lighting, the form is invisible.
BASE
The table beneath an illusion. Usually containing a secret compartment that conceals
completely or partially a person or object.
BEVEL BASE
A beveled base is a table or platform that has sloping sides. The angled sides mask
the actual thickness of the table allowing for a secret compartment to conceal either a
person or object.
BLACK ART
A principal developed for stage by either Max Auzinger or Buatier De Kolta. When an
object that is painted or covered in flat black is in front of a back drop that is also flat
black, it becomes invisible. A "black art" can also be used to describe the material
used to cover the object.
FAKE
A gimmick that is intended to represent something else.
FORM
A gimmick that is the shape or appearance of something else.
^^m
GIMMICK
Any device, apparatus, or method used to accomplish an illusion or effect.
ILLUSION
An effect or prop used for magical purposes.
ILLUSIONIST
A magician with a checkbook and a mini-van.
MIRROR EFFECT
The use of a mirror or mirrors to create a secret space.
MR HAPPY SOCKY
The pinnacle of high-tech magic apparatus.
PYRO
Abbreviation for pyrotechnic. An explosion or flash effect used for dramatic staging.
SHELL
A hollow object that represents part of another object or person.
SPHINX TABLE
An illusion invented by Professor Thomas W. Tobin. Two mirrors at a 45-degree angle
to the audience reflecting the sides of whatever object is next to them as the back.
TRAP
A hidden door or hatch.
^Â
Bibliography and recommended reading
Art and Artifice by Jim Steinmeyer
Base Book, The by Rand Woodbury
Big Black Book, The by Paul Osborne
Darwin's Inexpensive Illusions by Gary Darwin
Device and Illusion by Jim Steinmeyer
Diversions by Rand Woodbury
Encyclopedia of Magic and Magicians by T.A. Waters
Haunted Illusions by Paul Osborne
Illusion Show Know-How by Paul Osborne
Illusion Systems Volumes 1,2,3, and 4 by Paul Osborne
Illusions by Paul Osborne
Illusionworks Volumes 1,2, and 3 by Rand Woodbury
Jarrett by Jim Steinmeyer
Our Magic by Maskelyne and Devant
Paragon and Paradox by Milan Forzetting

SOLO-X til Andrew MByTH
NuriMl F« by Antn. M>yn>
Mid MO|D by Andrew MiyiM
MM ft* \r, Art**. Msyne
Shock Itaglc by Andrew Mayne
^^«

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illusionbook

THE VANISHING FERRARI*

The Zeus Basket

Slot for support

(Partition not shown)

Mirrors sliding into

ARMOR OF THE GODS

The chest piece

THE ZOOM TUBE

Black art curtain

SPLITTING THE ACE

IX I Card frame Slot for

Platform for raising

Second assistant hidden

(1) Secret alien technology hidden in Nevada

The offstage unskilled

Front view Side view

The magician hiding

U - Blade with curve

THE REFLEX BOX

The Reflex Box

Front door Fold-down panel

Crate with notch

THE VANISHING PEANUT

This effect is for explanation

This effect is for explanation

Trap under the

Side view Tie

The head that appears on the television is a prerecorded video.

Mirror reflecting roof of box

HOW TO CUT A PIECE OF ROPE*

BOWLING BALL THROUGH HEAD

The performance of the effect works like this:

• The balloon is placed into the tube

• The tube is shown empty

Balloon Bowling ball

THE 200 WATT GURU

Plastic light "N

Flip-up chair back

Back Interior side view

Hole for head

1st set of spikes 2nd set of spikes

HOW TO CREATE A ZOMBIE

Inner black tube

THE 360-DEGREE LEVITATION

Support for assis

Side view Front view

Black art sheet

/ Fake stone arch

SECRET OF THE PYRAMIDS

Foam rubber block

THE VANISHING BANANA

The Vanishing Banana

_ Assistant hidden in table

THE ASRAH COFFIN

Recess in table top

WALKING THROUGH A FISH TANK

Middle section swiveled

• The interior of the box is flat black

• Polished metal crosspieces run across the front of the box

THE TIME THINGAMAJIG

The second assistant

THE INVISIBLE SALOON

Base with compartment