J C Sum - Simple Showstoppers

SIM PL E SHO W ST O PP ER S
CONTENTS
ABOUT THE AUTHOR 2
INTRODUCTION 3
TABLED SURPRISE 6
An Appearance Illusion on a Thin Table
OCTAGON 16
The Appearance of Two Girls from Nowhere
THE SWORD BARREL 22

A Simple Unique Design for a Sword Box
SILHOUETTE SEDUCTION 29
A Sensual Appearance from a Dance Pole
GROUNDED METAMORPHOSIS 26
An Easy Instant Exchange
DARK DREAMS 35
A Complete Black Art Illusion Act
All Rights Reserved
The purchase of this book entitles only the book owner to build or have built any or all of the illusions contained
therein for his/ her sole use. Any person borrowing the book or copying it illegally does not have this legal
privilege.
All commercial manufacturing rights of any of the illusions contained in this publication are reserved and strictly
remain the sole property of the author.
The author accepts no responsibility for damages or injuries resulted from the fabrication or performance of any of
the illusions in this book.
In purchasing this book, you agree to these terms that will be enforced by international law.
© Copyright 2013 by J C Sum/ Concept: Magic
No part of this publication may be reproduced or transmitted in any form or by any means, electronic or
mechanical, including photocopy, recording, or any information storage and retrieval system, now known or to be
invented, without permission in writing.
© Copyright Concept:Magic 2013

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ABOUT THE AUTHOR

Based in Singapore, J C Sum is one of the top professional illusionists in Asia and is a
world-class designer of original illusions and mega illusions. As an international performer, J C
has staged over 3500 shows across Asia Pacific as well as in the Middle East, Europe and the
US.
In the last seven years, he has created many original mega illusions and stunts that have
established him as one of the most innovative illusionists in the world. His creative stunts
include reading 100 minds in 60 minutes, performing the world’s first tandem upside down
double strait jacket escape and teleporting & vanishing people & cars over great distances.
More than 120 million people have seen J C’s magic on television with appearances on over
26 programs internationally.
In 2013, J C was presented an “Outstanding Achievement & Contribution to Magic” award from
the International Brotherhood of Magicians Ring 115 as well as a first ever “Patrons of Magic”
award in 2012 for his unparalleled contributions to the Singapore magic scene. Along with
‘Magic Babe’ Ning, they were voted “Best TV/ Stage Magicians” in About.com’s 2012 Readers
Choice Awards, beating out world class illusionists around the world.
J C is widely regarded as one of the most prolific modern illusion designers in the world. He
has written 7 books on illusion designs & presentations for the magic community and the
books have been sold in over 60 countries. J C also produced a groundbreaking DVD set,
“Behind the Illusions”, which was a best seller and received high positive reviews worldwide.
Besides magic, J C enjoys reading, watching movies, playing pool, cooking and customizing
“Transformers” toys.
For more info, visit: www.jcsum.com
Read his blog at: www.backstagebusiness.wordpress.com
For a one-stop professional illusion resource, visit: www.illusionbooks.com

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INTRODUCTION
As illusionists and magicians, we all wish to have a collection of professional-looking
illusion props. However, many times, practicality (money!) does not allow us to have great
illusions at our disposal. But, necessity is the mother of invention and it is still possible to
create stunning illusions with some clever thinking, adapting of available tools and putting in
some effort to put everything together.
One of the first illusions that I performed was an appearance from a traditional black art table.
It was a relatively simple DIY illusion to put together, especially with my limited building skills
and availability to tools and materials. "Tops Treasury of Illusions" was my reference as well as
Gary Darwin's "Inexpensive Illusions" book. The eventual illusion was crude but effective. It
was an enriching process.
As I developed my illusion repertoire, I bought professionally built illusions as well as continued

to build my own illusions. Even to date, I strike a 50/ 50 balance of designing/ building my own
illusions and buying professionally built illusions.
For any illusionist, whether you are a hobbyist, new illusionist or working professional, budget
is a real practical concern. Sure, it is easy to say that illusions are only for magicians who can
afford it and I agree, to a large extent.
For the record, I did not start my professional magic career with illusions. I started like most,
performing for birthday parties and close-up at restaurants and private parties. I got into
illusions only after "working the trenches" for five years. So, I had a little money saved to invest
in illusions but by no means had a budget to get a full show of professionally built illusions. So,
I do know that one has to start somewhere. Whether it is a first illusion or subsequent illusion
as you grow your show, not everyone can afford a $10,000 illusion any time they want.
When you first get started in illusions, you should first start experimenting with simple
illusions. By that, I mean experimenting with some basic illusion principles and techniques
using items that you can obtain cheaply. This includes constructing illusions from cardboard,
cloth, PVC pipes and other easy to obtain material.
Grant's "Victory Cartons" book, Mark Wilson's "Complete Course in Magic", "Mark Wilson on
Illusions" as well as Andrew Mayne's various booklets and "Illusion EFX" DVD all contain
illusions that you can make inexpensively with literally cardboard boxes and duct tape.
These inexpensive illusions will allow you to experiment with various illusion techniques like
protecting angles, choreography, movement, teamwork, working with large props and
pantomime. Film your "experiments" with your smart phone, a cheap video camera, or web
cam and observe your routining, movement and illusion handling.

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Besides honing basic illusion techniques through experimenting with simple illusions, this
exercise will help you find your inclination and strengths towards certain illusions. This will also
help you start to develop your illusion style, may it be a physical style like Hans Klok, dramatic
like Copperfield or patter intensive and comedic as opposed to silent with pantomime.
I think the illusions in this book are a good next step as you get more serious in
illusions. While the concepts and designs are still simple, the illusions are designed to be
presentable even in a professional illusion show. The bonus is that every illusion in this book
can be put together for under $500!
These simple showstoppers include techniques that involve different hiding and concealment
methods, deceptive lighting and routining an illusion act. I'm particularly pleased with "The
Sword Barrel" as it is a good project for a new illusionist looking for a self-contained illusion
that can be performed surrounded.
I am also proud of the "Black Art Flap Table" (BAFT). In my book, "Illusionary Departures", I
shared my "Black Art Table Slide" but I think this is an advancement on that. Both allow the
audience to have an apparent view behind and under a BA table but the BAFT is easier to
build and requires a simpler lighting arrangement. New illusionists and seasoned professionals
will find great value in this utility.
If you are handy and have a workshop, you will be able to build these illusions yourself.
I recommend you watch Gerry Frenette's "Building Your Own Illusions, The Complete Video
Course" (6 DVD Set) to help you develop your illusion building skills.
After understanding the illusions, you should build a mock-up with cardboard to make sure it
fits and that dimensions are accurate. All the dimensions I have provided should be used as a
guide only. Personally, I prefer to be conservative with the dimensions and opt for a tighter fit
than an overly large prop. So, follow the dimensions in the plans and "fit" the illusion for your
assistant. I will fight to save every 1/2" of space. This is for both deceptiveness and to save
space. More often than not, new illusions builders are worried that a prop will not fit or will be
too small. Trust me, more often than not, the prop turns out too big.
Instead of building the prop yourself, hire a carpenter, cabinet maker or prop maker to fabricate
the prop for you. All the illusions in this book are easy to understand and you will be able to
communicate what you need to the builder. However, it is important that you supervise and
oversee the building of the prop every step of the way. Don't just give them this book and
expect a full working illusion in a few days! While a carpenter, cabinet maker or prop maker
knows how to measure, cut and assemble materials together, they have no illusion knowledge.
They may also have their own way of building things which they may try to apply to your
illusion.
The two most common "issues" I have with non-illusion builders are:
 Dimensions are not followed accurately. To many builders, being 1" or 2" off is
acceptable. It is not when it comes to illusion deception!

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 Material thickness and weight are always too much. For example, 1/4" or "3/8" ply is
suitable for most non-structural illusion panels (sides of illusion boxes). However, non-
illusion builders will naturally go with 3/4" or "1" as that is what they use for cabinets and
cupboards. This alters the overall size and weight of the prop significantly.
Well, I hope I have set the groundwork for developing the illusions in this book. Good
luck on creating these simple showstoppers and adding them to your show. I wish you all the
best!
J C Sum
Nov 2013

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TABLED SURPRISE
An Appearance Illusion on a Thin Table
EFFECT
A large table is seen on stage. The tabletop is thin and lights behind/ under the table
shine through to the front to show that there is nothing under or behind the table. A sheet of
cloth is casually folded on the tabletop.
The Illusionist steps up onto the table and lifts up the cloth. A second later, he drops the cloth
to reveal the magical appearance of a girl!
INTRODUCTION
This is a simple appearance of a girl (or two girls) that is perfect in a theatre stage
setting. It does not require a full illusion base or black art set up. However, lighting should be
controlled to create the right effect and enhance deception.
Andrew Mayne published a similar method in “The Secret Illusion Show” but without a table/
platform and it required a rather dimly lit stage. Years ago, Nicolas Night performed a version
in his stage act with Kinga, also without a table/ platform. Franz Haray uses a similar set-up
with platforms when necessary with multiple girls and multiple platforms.
METHOD & REQUIREMENTS
The girl is basically hidden on the table/ platform by lying down flat with a piece of
heavy cloth folded over her. A baffle (in the form of a length of rectangular aluminum tubing) at
the front of the table breaks the shape of the girl under the cloth.
You will need two tables or pieces of a portable platform stage (with no skirting). Join two 4ft x
4ft tables together to form an 8ft x 4ft platform. The legs of the tables should be a light colour
like white or silver, NOT black. Place floodlights under and behind the table to remove any
suspicion of Black Art.
Take a 8ft length of 3” x 2” aluminum rectangular tubing (2mm thick) and secure it to the table,
on each end, with a pair of G-clamps. Put a strip of 2” yellow/ black warning tape on the front
of the aluminum tubing.
A heavy piece of fabric, 96” (L) x 75” (H), is used as the cover device. It should be of a
bright contrasting colour to the table. The entire bottom edge of the cloth must be attached to
the table by Velcro or staples. This is so that it will not accidentally flap up when the cloth is

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raised up. A 1” length of aluminum tubing is sewn into the top edge of the cloth so that the
cloth can be held up and opened easily.
See Figs 1 & 2 for the illusion set-up.
FIG 1
FRONT VIEW
3” x 2” Aluminum Tubing
G-clamps
FIG 2
SIDE VIEW
Use heavy cloth so that the audience 1” aluminum pole sewn inside top
will not see the shape of body edge of cloth
Audience

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PERFORMANCE
The performance should be apparent based on the “Effect” and “Method” described
above.
NOTES
To increase the deceptiveness of the illusion, here is an addition you can make to the
front cloth. A piece of black velvet 96” x 24” (H) is sewn along one length only to the back top
edge of the front cloth. This black velvet will hang just behind the top edge of the front cloth.
Instead of using only the front cloth to cover the girl, the front cloth only covers the front half of
the girl.
Accordion fold the front cloth so that it only covers the front half of the girl. Open up the extra
black velvet piece and use it to cover the back half of the girl. See Fig 3. During performance,
the black velvet will be automatically pulled off the girl when the front cloth is raised up. The
tabletop should be painted black in this version.
With good music and lighting, the illusion will look very good. It should be performed away from
the back curtain so the audience does not think that the girl just comes out from behind the
curtain.
FIG 3
SIDE VIEW
Front cloth covers front half Black art cloth covers back
of the girl half of the girl
Audience

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To produce two girls, the girls must lie down head-to-head in a standard “lotus” position,
legs crossed and lying flat on their backs with heads tilted to one side, flattening themselves as
much as they can. This is identical to a standard illusion base hiding position. See Fig 4.
FIG 4
TOP VIEW
Audience

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OCTAGON
The Appearance Of Two Girls From Nowhere
EFFECT
A row of safety barricades and lights are seen on stage. A folded-down four-sided
curtain sits on center stage. The Illusionist moves the barricades to form an octagonal-shaped
enclosure around the curtain. The Illusionist steps inside the octagon and raises the four-sided
curtain in the middle of the enclosure. Seconds later, he drops it to reveal two girls standing in
front of him!
INTRODUCTION
This is a strong appearance of two girls on an empty stage that uses Black Art (BA) as
the hiding method. The use of safety barricades allows for the BA method to be utilized
deceptively but also allows for a logical presentation that builds up to the final appearance.
Appearance illusions are traditionally very short in duration but this presentation allows for a
longer performance.
This illusion is relatively inexpensive to put together but plays fairly large as there is some form
of stage setting and production value.
As the method requires BA, you will need to perform this against a black backdrop with
controlled lighting.
The Barricades
You will need 8 plastic "A-shaped" safety

barricades as pictured in Fig 1. These are
available from suppliers of traffic safety
equipment.
The barricades are made from lightweight plastic

with bright colours that usually have reflective
stickers on it that catches light easily, making it
ideal for BA usage. These barricades are also
designed to allow light beacons to be mounted on FIG 1
them.

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One of the barricades has a piece of black velvet taped to the back of it. Only the top edge of
the velvet is taped to the back of the horizontal bar of the barricade. The velvet has a ½”
aluminum or wooden rod sewn inside the bottom edge so that piece of velvet can be lifted up
easily. When the black velvet is against a black backdrop, it blends in perfectly with the
backdrop creating the BA illusion; especially with controlled lighting. This barricade also has
two light beacons mounted on it.
The Curtain
The four-sided curtain is similar in construction to the all-round curtain used in a

"Substitution Trunk" illusion, except there is a large window cut-out in the back.
The curtain is made from a light-coloured material such as a high quality sequin or satin with a
black lining. There is a rectangular frame sewn in the top edge of the curtain. The frame can
be made from 1" square tubing or 1" x 1" lumber.
Cut each end of the tubing or lumber at a 45 degree angle to form the rectangle. Use stainless
steel or aluminum angles to connect the tubing or lumber to form the frame. You can buy off-
the-shelf pieces of metal angles or you can cut 1" pieces from 2" x 2" aluminum angle (3mm
thick).
Permanently mount one side of the angle to either side of the front and back lengths of the
frame with screws or rivets. The other side of the angle is attached to the side lengths of the
frame with bolts and wing nuts so that you can break down the frame for transport. See Fig 2
for an example of the construction of one corner of this frame.
FIG 2 1” aluminum square tubing

TOP VIEW or 1” square lumber frame
2” x 2” stainless steel or
aluminum angle connector
Permanent Rivet
Wing Nut/ Bolt Assembly

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The cloth curtain measures 42” x 42” (on each side) with a height of 74” and is sewn together
to form a large tube. The back of the curtain has a large window (34" x 36") cut into in. See Fig
3.
The top edge of the curtain has Velcro strips sewn along the edge so that the top of the curtain
can fold over the frame and be attached in place with the Velcro. Naturally, the Velcro must be
sewn onto the cloth before you sew the curtain to form the large "tube".
FIG 3
42”
BACK VIEW
1” aluminum square tubing

sewn into top edge of curtain
34”
74”
36”
SET UP
Set up the barricades as follows:
 The BA barricade with the beacon lights is about 4 - 6ft away from the black back
curtain in the center of the stage. Three barricades are placed in a row on either side of
the BA barricade.
 The four-sided curtain is accordion-folded down about 3ft away in front of the BA
barricade. The window cut-out faces the BA barricade, away from the audience.
 A floodlight is placed behind each second barricade from either side. The floodlights are
angled slightly towards the center of the stage. This lighting arrangement enhances the
BA deception as well as misdirects away from the BA.

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 The remaining barricade is placed 6ft in front of the four-sided curtain.
 The two girls are hidden behind the BA barricade, represented by the white circles in
Fig 4.
FIG 4
TOP VIEW
Backdrop
Girls Floodlight
Barricades
Curtain
PERFORMANCE
Step 1
Walk behind the front barricade and step into the curtain to show that it is empty. You
are also casually proving that the audience can see through the barricade.
Walk to one side of the stage and walk behind a row of three barricades, subtly showing that
the audience can see through/ under the barricades. Stand directly behind barricade #1 and
pivot it 45 degrees at an angle. Move barricade #2 90 degrees so that it joins the front edge of
barricade #1. Move barricade #3 45 degrees inwards from barricade #2. See Fig 5. (The black
circle represents you, the illusionist.)

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Step 2
Walk over to the other side of the stage and reposition barricades #4, #5 & #6 in a
similar way, mirroring the barricades on the opposite side. See Fig 6. Finally, pull the front
barricade back to from the octagon enclosure.
Step 3
Step inside the four-sided curtain and lift it up about waist height. Once you lift up the
curtain, the girls lift up the BA cover, crawl under the BA barricade, enter the curtain through
the window cut-out and maneuver carefully around your legs so they end up kneeling down in
front of you. See Fig 7.
Once the girls are in place, raise the curtains to cover your face. Immediately, the girls stand
up and pose next to you. Immediately, lower the curtain to waist height to reveal the girls. Wait
for the audience to register the instant appearance of the girls and then allow the curtain to
drop to the floor.
NOTES
 This illusion is scalable so you can make more girls appear as necessary. You will need
to increase the number of barricades (including multiple BA barricades) as well as
increase the size of the curtain. You will also need two onstage assistants to raise the
curtain as you will not be able to raise the curtain yourself if it is bigger.
FIG 5
TOP VIEW
Backdrop
#1
#2
#3
Illusionist

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FIG 6
TOP VIEW
Backdrop
#4
#5
#6
FIG 7
TOP VIEW
Backdrop

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THE SWORD BARREL

A Simple Unique Design for a Sword Box
EFFECT
A large plastic barrel is seen sitting on a base with wheels. A girl steps into the barrel
and it is covered with a lid. Six swords are pierced through the barrel from all sides. A final long
spear is pierced through the center of the barrel through the top to bottom.
The swords are removed and the girl reappears unharmed!
INTRODUCTION
"The Sword Box" and its variations such as the "Sword Basket" and "Sword Pyramid"
are popular illusions because they are self-contained and can be performed in almost any
show environment. Every illusionist would have an illusion of this nature in their professional
repertoire. As such, illusions of this nature are also quite common so new looks and designs
for such illusions are widely sought after.
This is a different look for a sword basket with a ready-made fabricated item that you
can utilize as the main component of the prop. It is inexpensive, lightweight, easy to transport
and plays big.
I should mention that Marco Beltempo from Germany has a sword box-type illusion using a
metal barrel that splits in two. It is slightly different from "The Sword Barrel" that I conceived
independently.
REQUIREMENTS
FIG 1
The Barrel
You need to obtain a 220L plastic barrel that

measures 39” x 23” (diameter).
The barrel is typically available in blue or black. You can

decorate it with 2” yellow/ black or orange/ white warning
tape.
This will come with a lid that will also be used as the lid for
the prop. See Fig 1.

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The Base
You will need to make a base unit with castors. This base serves three purposes. One,
it will raise the barrel off the stage floor so the audience does not think that the girl escapes out
from the barrel through trapdoor. Two, it allows you to move and revolve the barrel easily.
Three, and most importantly, the base will give the girl 3" of valuable hiding space.
The base is made from 3/4" ply mounted on four castors. There is a 1.5" hole drilled through
the center of the ply for the long spear. There are four baffles made from 3" x 1" lumber to form
four short walls on the 3/4" ply. The barrel will fit snugly inside these walls. The base is finished
in black paint or black carpet. See Fig 2.
The sides of the baffles are trimmed with 2" aluminum flat bar to make the base look thinner
and solid.
FIG 2 24”
FRONT/ SIDE VIEW
3”
¾” ply
The Swords
You can buy replica swords from a replica weapons store or alternatively, you can make
swords cut from 3mm aluminum or stainless steel sheet and wrapped with leather or rubber
grip tape used to wrap the handles of tennis rackets. The length of the swords is about 36” –
40”.
Instead of swords, you can make spears out of ¾” thick wooden dowels sharpened to a point
and painted a light colour.
The long spear is made from a length of wooden dowel that measures 50" long.
Creating the Sword Holes in the Barrel
Step 1
You will need to create holes in the barrel to allow the swords to pass through. This is
how to go about doing it.

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First, drill two pilot holes. These are small holes about 5mm in diameter. Using a heavy duty
industrial craft knife, create a "star trap" by cutting a cross measuring 1" x 1", slightly more
depending on the size of your swords or spears. This is similar to the "cross cuts" in the top of
plastic lids for disposable drinking cups.
The first two holes are made on the left and right sides of the barrel (in relation to the
audience); 7.5" from the bottom of the barrel and 7.5" from each side of the barrel. Make two
more holes directly opposite the first two holes.
Step 2
Have your assistant step into the barrel. She lowers herself down inside and sits with
her legs crossed and pressed against the sides of the barrel. She sits relatively straight up with
her back against the back of the barrel. The four holes should be on the left and right sides of
her body. Make markings with coloured tape on the inside of the barrel so that your assistant
knows exactly which direction to face and where to position her body.
Carefully insert one sword through one of the holes closer to your assistant's body. This sword
will pass just in front of her waist. Your assistant will need to guide the tip of the sword to the
opposite hole so that you can push it through the barrel.
The other sword will pass just above your assistant's crossed legs.
Step 3
The next sets of holes are made on the back and front of the barrel, 6.5” from each side
of the barrel. These swords will pass through either side of your assistant's neck, just above
her shoulders, and cross each other before exiting out from holes in the front of the barrel.
The next sets of holes are made on the left and right of the barrel, 4.5” from the top and 7.5”
from each side of the barrel. These holes allow the swords to pass through the sides of the
barrel. One sword will pass close to your assistant’s head.
Step 4
Now, the final 1.5” holes for the long spear have to be made, first, in the center of the lid
of the barrel. You will also need to drill a 1.5" hole in the bottom of the barrel that matches up
with the holes in the lid and base unit of the prop. The long spear will pass through the top of
the barrel, down the center, between the legs of your assistant and through the hole in the
base.
See Figs 3 & 4.
If you are unsure if your assistant can fit with my dimensions given above, drill very
small pilot holes and use a very thin wire rod to see if it clears your assistant. Create larger
holes and the "star trap" only when you are sure the swords will clear your assistant.

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SET UP
 The barrel is set in the base.
 The swords/ long spear can be on a table, an umbrella holder or passed to you by stage
hands.
 You will also need a step ladder for your assistant to climb inside the barrel unless your
choreography entails you lifting your assistant into the barrel.
FIG 3
X-RAY SIDE VIEW
7.5” 4.5”
7.5”
22”
7.5” 7.5”
7.5”

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FIG 4
FRONT VIEW
6.5” 6.5”
PERFORMANCE
Step 1
Introduce the Sword Barrel by revolving it around and removing the lid. Your assistant
enters the barrel and lowers herself down inside the barrel. She should move slowly and look
like she needs effort to fit herself in to give the illusion that it is a very right fit.
Replace the lid.
Step 2
Pick up two swords and place them through the bottom two holes from left to right. Your
assistant guides the swords as necessary.
Next, take two swords and put them through the top two holes of the barrel, from right to left.
Continue at a brisk pace and take the final two swords and place them through the middle
holes from back to front, crossing the swords at the same time.
Finally, take the long spear and place it through the top of the lid, down through the barrel.

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Step 3
Revolve the prop around to show it from all sides. Strike a pose for an applause cue.
Step 4
Remove the long spear and all the swords, in reverse order. Lift off the lid and your
assistant dramatically emerges from the barrel unharmed.
Help her out of the barrel and strike a double finale pose!
NOTES
 If you like, you can add a costume change as a kicker when your assistant reemerges
from the barrel. An outer “tear-away” costume can be layered over an inner one and she
removes it, bit by bit, during the course of the performance, whenever she can.

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SILHOUETTE SEDUCTION
A Sensual Appearance from a Dance Pole
EFFECT
A vertical metal dance pole is set up on a thin tabletop that is 1ft off the floor. The
Illusionist and an assistant open up a large white cloth between them in front of the platform
and dance pole. A light behind the platform switches on, casting the silhouette of the pole and
platform onto the cloth.
Sexy music plays and the silhouette of a women's hand magically emerges from the pole. The
hand continues to reveal an arm and eventually, the body of the women who materializes out
of the pole.

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The women's silhouette is seen to perform a sensual dance and eventually reaches over to the
Illusionist. Her physical hand is seen to extend out from beyond the side of the cloth. Her hand
carcasses the Illusionist's face and retrieves a rose from his outer breast jacket pocket. Her
hand is seen to pull back behind the cloth along with the rose. The women's silhouette is seen
with the rose and she dances magically back into the pole.
The cloth is dropped to reveal that the woman is gone!
INTRODUCTION
I came up with this idea in the early 2000s after watching an emcee for a company
dinner event play a game where two spectators opened up a white cloth. A number of
contestants were invited on stage to try their best to do a sexy dance behind the cloth as a
light behind them casted their shadow onto the back of the cloth, creating silhouettes. The set
up was very crude and simple, but the visual effect, along with the music, made it quite
interesting and entertaining. I thought that an illusion could be created with that simple set up
without structures or frameworks to hold up the cloth.
I've always like the visual effect of a silhouette as it leaves a lot to the imagination. This lends
itself to a magical effect. Shadow/ silhouette effects are popular in magic for the mysterious
feel and visual effects they create. I myself perform a version of the traditional Shadow Box as
well as a solo shadow appearance that is self-contained and does not need any assistants to
execute the illusion.
METHOD
This illusion is basically a cheat. But it allows you to perform an apparent appearance of
a girl without actually having a girl present for the show. From a practical standpoint, this is
very valuable for the working performer.
The entire appearance of the girl is a pre-recorded video that is projected directly onto the
back of the cloth. The hand that appears from behind the cloth is actually the gloved hand of
the illusionist. The whole act is basically a perfectly timed pantomime act to create a magical
illusion effect.
The use of the dance pole gives motivation for the cloth cover. While another object will also
work with the method, a dance pole fits very naturally with the sexy silhouette image of a
dancing girl.
Acknowledgement must be given to Tina Lenert's "Mop Man" act as a point of

inspiration for the appearance of the gloved hand.

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REQUIREMENTS
The Platform and Dance Pole
The platform is built like a table but it does not need to be very heavy as it takes very
little weight. It measures 56” x 24” x 12" (H). It can be made from 3/8 " ply mounted on a
rectangular under-frame made from 2" x 1" lumber. Add a leg, made from 2" x 2" lumber, at
each corner under the tabletop and inside the under-frame. You can use bolts and embedded
T-nuts in the legs to hold the legs in place. You can even build the tabletop to hinge in half for
easy transport.
Naturally, you will need to mount a dance pole onto the platform top. If transportation is not an
issue, you can cut a length of 2.5" stainless steel or aluminum tubing as a pole. You will also
need to machine a mounting plate with threads on both the mounting plate and pole. This will
have to be done by an engineering company.
I actually suggest you purchase a professional FIG 1

portable dance pole that breaks down for easy
transport and includes a mounting plate that
you can screw to your platform top.
There are quite a number of companies that

can supply a professional dance pole set that
includes a seamless "breakdown" pole for
$200 - $300 as pictured in Fig 1.
With such a set, you can permanently mount

the mounting base plate onto your platform
top and set up the pole as needed for
performance.
The Projector and Pre-recorded Video
The video is pre-recorded and you will need to have a girl record the appearance/
dance/ disappearance sequence. The girl should be wearing a figure hugging outfit like a
leotard as well as silk or satin gloves.
The video will then have to be post produced with masking applied so that she can make her
appearance/ disappearance from/ into the pole. The video images also have to be converted
black. Any competent video editor will be able to post produce the video for you.
The critical aspect is positioning the video projector that is behind the pole/ platform so that the
video will be lined up perfectly with the pole and the cloth. You may need to raise the projector
up on a box or case to get the right framing.

24
The good thing is this is a one-time figuring out process. You need to work out the exact height
and distance to create the right effect and note the dimensions. When you get to the
performance venue, you will recreate the set-up and fine-tune the positioning. Naturally, you
will need to use the same video projector and settings/ focus. There are economical portable
projectors that will work for this illusion.
You will also need a media player such as a DVD player or a laptop to play the video
and feed the signal into the projector during performance. This will be placed offstage with a
video output line running from the media player to the projector on stage.
The Cloth
The cloth has to be custom made and is slightly prepared. The material should be white
and translucent. A cotton/ polyester blend with work well. You do not need to spend money on
a high quality satin or silk. The cloth measures 86” x 84”. Two strips of black cloth are sewn
over the two sides of the cloth. The width of each black side is about 14".
There is a 1" aluminum pole (hollow, 3mm thick) sewn into either side of the cloth.
There is a pocket about 6" x 10" deep sewn behind the side that you will be holding.
On the same side, you will need to attach a third hand or séance gimmick at the top edge in
front of the cloth.
See Fig 2.
You will need one glove that fits your hand that matches the side of the third hand.
You will also need a short stemmed rose.
SET UP
 The platform, pole, media player and video projector are set up as you rehearsed. The
cloth is accordion folded from side to side, set to the side at a convenient location on the
floor, along with the glove.
 The rose starts off in the top outer breast pocket of your jacket.
 You will need one stage hand or onstage assistant to perform the illusion.
 You will also need an off stage assistant to play the video.

25
FIG 2
BACK VIEW 86”
Third Hand Gimmick

(Sewn to the front of
the cloth)
6” x 10” pocket sewn

behind one black side
of cloth
84”
1” aluminum pole
sewn into side edges
of cloth
14” 14”
PERFORMANCE
Step 1
Introduce the illusion and design the stage lighting such that the stage darkens except
for a focused spotlight on the pole/ platform.
When the lights go down, walk over to the cloth and quickly wear the glove on your hand, the
hand that matches the third hand.
Carry the cloth, with your gloved hand hidden behind the cloth and meet your assistant at the
center of the stage just in front of the platform. Practice so that both your assistant and you
open up the cloth gracefully in front of the platform and the pole. One hand should be on the
side of the cloth, gripping the pole through the cloth, and the other hand is at the top corner.
The bottom of the poles in the cloth rest on the ground.

26
Your gloved hand remains hidden behind the black side of the cloth and the third hand
gimmick replicates your real hand. Your assistant's hands position should mirror yours.
Step 2
The projector and media player is turned on by the off-stage assistant. The video
sequence starts off with just a white screen projection so it looks like a stage light has been
turned on. After a few seconds, the video sequence of the girl appearing begins to create the
illusion of the girl appearing from the pole. It should start dramatically with the girl’s hand
extending out of the pole. See Fig 3.
When it comes to the part where the girl's hand extends out of your cloth, use your own gloved
hand to emerge from your side of the cloth. You will need to pantomime and practice your
hand movements so that the angle of your hand and timing is correct. The black side of the
cloth gives you some allowance to hide your real hand and match the timing.
After caressing your face, your hand retrieves the rose from your pocket and pulls back behind
the cloth. Your hand deposits the rose into the pocket behind the cloth and remains hidden.
Step 3
The video sequence continues till the disappearance of the girl. Once the girl
disappears, your assistant and you move towards each other and allow the cloth to fall to the
floor. Kneel down as you allow the poles in the cloth to fall to the floor.
As the audience is registering the disappearance of the girl, use your free hand to grip your
gloved hand through the glove and pull your hand out of the glove, leaving the glove under the
cloth.
Stand up and walk center stage to take your applause.

27
FIG 3
FRONT VIEW

28
GROUNDED METAMORPHOSIS
An Easy Instant Exchange
EFFECT
A wooden crate is shown all around and tipped forward so that the audience can see it
is empty and solid.
The Illusionist enters the crate and its hinged lid is closed shut and locked. The assistant
stands next to the crate and opens up a cloth. The cloth is raised up to shield herself from
view. Instantly, the cloth is tossed aside to reveal the Illusionist.
The crate is unlocked and opened up to reveal the assistant inside.
INTRODUCTION
"The Substitution Trunk" is probably one of the most popular illusions in the world that
illusionists perform. Like "The Sword Box", it is self-contained and can be performed almost
anywhere. However, it is very physical and is actually very difficult to perform well.
"Grounded Metamorphosis" offers solutions to four problems/ issues.
1. It is a different look in the presentation of the "Sub Trunk" as the exchange does not
take place with the performer(s) standing on the trunk.
2. While the exchange still requires lots of practice and rehearsal to make the switch
instantaneous and magical, there is no climbing or dropping down into the trunk. This
means that there is less stress on the performers' knees and reduces the risk of injury.
Performers who have bad knees or a bad back can now perform the "Sub Trunk"
without fear or pain.
3. The fact that no one has to stand on the trunk allows the trunk to be fabricated so that it
is very lightweight, making it a breeze to transport.
4. The method makes construction of the prop very easy and inexpensive.

29
The Trunk
The trunk is made from wood and measures 40” x 32” x 32”. The trunk is gimmicked in
a very simple way. The back is almost completely open with a large cut-out that measures 36”
x 28”. It has a hinged lid that can hinge back 270 degrees to the back. When the lid is hinged
back, it, it covers the open back giving the illusion that the back of the trunk is solid.
There is an additional sheet of ply that also measures 36” x 28’ mounted on top of the lid.
When the lid is hinged back, this additional sheet of ply fits perfectly inside the back cut-out so
that the "back" looks like a solid piece if one were to look inside the trunk. See Figs 1 - 3 to see
the dimensions and construction of the trunk.
Each panel of the trunk is made from 3/8” plywood. Use 2” x 2” aluminum angles (2mm thick)
as brace supports and connectors to assemble the trunk. You can build it solid or use bolts
and wing nuts to assemble it so that you can break down the trunk to pack flat for easy
transport. As the trunk is lightweight, there is no need for castors.
To finish the trunk, add a shackle and hasp for the padlock to the front of the lid and trunk as
well as two handles on the sides of the trunk.
The Cloth
The cloth can be made from a high quality or sequin with a thick black lining so that light
does not bleed through the fabric.
The cloth measures 74” x 74”. There is a 1.25" aluminum pole, 2mm thick, sewn into each end
of the top edge of the cloth. Each pole measure 16” long. The poles allow you to hide bad
angles by angling the poles inwards towards the back of the stage. This is similar to the front
curtain used in a traditional "Substitution Trunk" illusion. See Fig 4.
You will require an assistant to perform the illusion.
You will need to perform this illusion with the audience seated in front of the stage.

30
FIG 1 40”
BACK VIEW
36”
32”
28”
FIG 2 FIG 3
SIDE VIEW SIDE VIEW
Lid hinges back to completely

cover back of trunk.
Additional panel on top of lid

fits into cut-out in the back of
the trunk.
32”

31
FIG 4 74”
FRONT VIEW
16” 16”
74”
SET UP
 The trunk is closed and center stage.
 The padlock with key is hooked onto one of the handles of the trunk.
 The cloth is accordion folded and placed on top of the trunk.
PERFORMANCE
Step 1
Introduce the trunk, pick up the accordion folded cloth and place it on the front of the
stage floor. With the help of your assistant, tilt the trunk forward towards the audience so that
they can see inside the trunk. The audience will see what appears to be an ordinary solid
trunk. Set the trunk back at the 45 degree angle so that the stage left corner of the trunk points
to the front.
Step 2
Climb into the trunk and your assistant flips the lid over, closing it over you inside the
trunk. As she locks the trunk shut with the padlock, position yourself at the mouth of open back
of the trunk.

32
Step 3
Your assistant picks up the cloth and steps to the stage left side of the trunk. She allows
the cloth to open up in front of her at chest height and angles the poles inside the top edge of
the cloth so that the sides are covered. See Figs 5 & 6.
Once your assistant opens the cloth up, you exit the trunk and crawl in front of your assistant.
Stand up in a crouched position and take the cloth just under your assistant’s hands. Stand up
but tuck your head down as you raise your hands upwards, covering your assistant's head.
Once your assistant's head is covered by the cloth she ducks down and quickly makes her way
behind and inside the trunk. Almost immediately, you pull the cloth down to chest height to
reveal the magical transformation.
Once your assistant is clear, you throw the cloth away to the side showing the complete
transformation.
Step 4
Open the lid of the trunk, hinging it back, and your assistant stands up inside the trunk.
Help her out of the trunk and strike a pose at the front of the stage for an applause cue.
FIG 5
TOP VIEW

33
FIG 6
FRONT VIEW
NOTES:
 If you like, you can add hand shackles and a tied-up sack as per many standard “Sub
Trunk” routines. You can buy tricked handcuffs or “electronic release shackles” from a
magic dealer and the sack can be a bottomless sack.

34
DARK DREAMS
A Complete Black Art Illusion Act
EFFECT
A table is seen on stage on an otherwise empty stage against a black curtain backdrop.
A large flashlight and a folded piece of cloth are seen sitting on the table.
The Illusionist switches on the flashlight and places it under the table from behind, proving that
there is nothing behind or under the table.
Next, a stool is placed onto the center of the table. The Illusionist picks up the cloth, steps up
onto the table behind the stool and opens up the cloth in front of the stool. He raises the cloth
to cover his head. A moment later, the cloth is lowered and the Illusionist is seen to have
transformed into a girl. The girl lowers the cloth to reveal that the Illusionist is now sitting on the
stool.
The Illusionist steps off the table and removes the stool, leaving the girl alone on the table. The
Illusionist gestures to the girl who opens the cloth in front of her. She tosses the cloth upwards
and it flutters to the table as she vanishes into thin air!
The Illusionist removes the flashlight from the shelf under the table and replaces it on the table,
switching it off at the same time.
INTRODUCTION
This is a complete illusion act that features three visual effects. The (cheat)
transformation/ appearance of the girl and the final vanish of the girl. I consider the (cheat)
transformation two visual effects as the audience registers two different effects as they
happen.
The stool acts as misdirection as the audience expects something to happen with the stool but
instead they see the illusionist transform into a girl. Then the second effect occurs when the
illusionist is revealed sitting on the stool. The final vanish is very strong as it happens instantly,
looking like real magic.
Both the appearance and vanish are accomplished using a Black Art (BA) Table. In a
traditional BA Table, the space between the two back legs is covered with a piece of black
velvet.

35
The velvet can be rolled up at the start of the illusion so that the illusionist can walk around the
table to show that it is empty. Subsequently, the velvet is released so that the velvet drops
down to form the BA cover. A person can then vanish behind the BA cover.
However, if you want to make a person appear, the BA cover has to be already in place for the
person to hide behind. So, it is not possible to show the back of the table empty at the start.
The exception is if you have a curtain split in the back curtain or a trapdoor in the stage. In
which case, the person starts off behind the backdrop or under the stage and only makes her
way behind the table after the BA cover is in place.
I designed the Black Art Flap Table (BAFT) to hide a person behind the table but still
allow for the back of the table to be shown empty. This adds a layer of deception not possible
with a traditional table.
In the BAFT, there is a shelf under the table (10” from the floor). The shelf for the BAFT serves
two purposes. First, it is a shelf for the flash light to be placed on during the performance.
Second, it also divides the vertical space under the table. To hide a person, the bottom of the
BA Flap is in place so that it covers about the bottom 1/3 of the back of the table, from the
shelf to the floor. The rest of the BA Flap hinges back and rests on the person who is lying on
the floor behind the bottom part of the BA Flap. See Fig 1.
FIG 1
SIDE VIEW
Black Curtain
Backdrop
While you will not be able to walk behind the table, you can take the flashlight and place it onto
the shelf from behind, indirectly showing that there is nothing behind the table. At an
appropriate time in the performance, the hidden person pushes up against the BA Flap and
"locks" it in place to form the complete BA cover as per a traditional BA Table.

36
REQUIREMENTS
The Table
The table can be modified from a regular table but it might be easier to build one from
scratch.
The tabletop is made from 3/4" ply with four legs made from 32" x 3" x 3" lumber legs. The
table top measures 72” x 36”. The legs, 32” long, can be secured to the tabletop with 8mm
countersunk head bolts and T nuts. T nuts are embedded nuts and are fitted into drilled holes
into the top end of the legs. 8mm holes are drilled through the tabletop with a countersunk top
so that the bolts go through the table and into the T nuts into the legs.
There are four lumber supports (2" x 1") under the tabletop inside the legs. These are cross
supports and ensure that the tabletop does not warp under the weight of the performers. They
also act as additional supports for the legs.
There are two more lumber supports bolted between the front two legs and the back two legs.
A 3/8" ply board is bolted to these lumber supports that acts as the bottom shelf.
See Figs 2 & 3.
FIG 2
TOP VIEW
72”
32”
10”

37
36”
FIG 3
SIDE VIEW
Black Art Flap
The BA Flap is made as follows:
Get the best quality black velvet that you can find. Cut a piece measuring 69” x 34”. Sew two
strips of 1" wide Velcro (the hard side), 10” long each, on the bottom side edges of the front of
the Velvet.
From a 1/4" sheet of plywood, cut two pieces. The smaller piece measures 69” x 10” and the
larger piece measures 69” x 21”. Ensure you file the edges smooth. Glue the piece of velvet to
the two pieces of ply so that there is an excess top edge of about 3". You will now have a BA
cover that hinges because of the two pieces of ply. Be sure to have a slight gap between the
two pieces of ply so that the BA cover can "hinge" at a 90 degree angle.
Add a 2” x 1" adhesive Velcro tab on the velvet, right at the top front edge of the ply. Fold the
excess 3" top edge of the velvet over the ply and glue it to the back of the ply.
Obtain a small cabinet knob and secure it to the back of the top edge of the BA Flap, just
below the 2” x 1” Velcro tab. Typically, there is a small screw that is screwed through a hole in
the cabinet door (in this case the velvet and ply) and into the knob itself.
The BA Flap is now ready to be mounted on the back of the table. See Fig 4.
Mount corresponding Velcro to the back legs and the top lumber support under the tabletop so
that the Velcro will line up with the Velcro on the BA Flap.
The bottom part of the BA Flap is attached to the back of the bottom of the table. The top half
of the BA Flap is now free but can be flipped up and secured to the top lumber support via the
Velcro.

38
FIG 4
FRONT VIEW
69”
21”
Dividing line of
Black Art Flap
10”
Velcro
Other Items
You will also need the following:
 Cloth. You will need a sheet of white cloth such as a high quality satin. Satin flows well
and is very pretty for the sequences in this act. It measures 55” x 75” (H).
 Flash Light. Look for a large portable flash light that can be placed flat so that it shines
straight horizontally.
 Stool. Any light-coloured regular stool (not a barstool) with no back will work.
 Lighting. You will need some theatrical lighting to light this illusion act effectively. Use a
combination of red and blue spots as well as dim focused natural (tungsten) light to light
the performers.
SET UP
You will need to perform this with the audience seated in front of the stage and there
must be front main curtains to set up on stage.
 The girl is hidden behind the table with the BA Flap folded down over her. The girl is
positioned in the following way: She sits cross-legged on the floor and then lies down as
flat as possible.

39
 The white cloth is accordion-folded and draped over one side of the table so that one
end of the cloth drapes over the front of the table and the other end drapes over the
back of the table. This is a little subtlety as the cloth can be seen behind the table,
before the BA Flap is up.
 The flash light is placed on the center of the tabletop.
 The stool is on stage to one side.
PERFORMANCE
The curtains open to reveal the table.
Step 1
Pick up the flash light and turn it on. Deliberately bring the flash light behind the table
(light facing the audience) and place it on the shelf, near the back edge.
Walk over and pick up the stool and set it onto the table, about 1/3 from the front edge.
Pick up the cloth with two hands and walk to the front of the stage. Give the cloth a flourish.
This serves as misdirection for your assistant to push up the BA Flap in place.
Step 2
Step up onto the table and stand right behind the stool. Open up the cloth in front of the
stool. Hold the cloth up at waist height. Tap your foot as a cue for your assistant to climb up
onto the table, crouching behind you. Lift up the cloth so that it covers your head completely.
Once you do this, your assistant stands up and takes a hold of the cloth just under your hands.
Once your assistant takes hold of the cloth, take a small step to the front and sit down on the
stool. Immediately your assistant lowers the cloth to reveal her face. Practice this so that the
transition is seamless and it will look like an instant magical transformation. She waits for the
transformation to register with the audience, and then drops the cloth to your feet to reveal you
sitting on the stool.
Step 3
Stand up and step off the table. Remove the stool and place it to a side.
Your assistant picks up the cloth by one edge and flourishes with it. She moves around on the
table, ending up near the back edge of the table.
Strike a pose and dramatically gesture to your assistant.

40
She opens the cloth in front of her and raises it to about chest height. She will now perform
the next series of actions almost simultaneously. She tosses up the cloth upwards lightly so
that it covers her head. Once the cloth covers her head, she steps back and allows herself to
drop behind the table onto the stage floor.
Once her feet lands on the floor, she pulls herself down quickly into a ball, ensuring her head
does not pop out from behind the top of the table. The cloth will flutter to the table and if
performed right, she will look like she instantly vanishes in a blink of an eye. After her drop-
vanish, she goes back to her first cross-legged hiding position.
Note: This is a dangerous vanish to execute and your assistant must be careful not to knock
her chin or face on the back edge of the table when she drops down. Careful practice and
rehearsal are required.
Step 4
Pick up the cloth, walk a few steps to the side and drop the cloth onto the floor. Under
this misdirection, your assistant pulls the BA Flap back down over herself.
You move back to the table, take the flash light from behind the table and place it onto the
center of the tabletop. Switch off the flash light and the stage lights dim at the same time for a
theatrical end to the routine.
NOTES:
 You can make this an even longer illusion act by performing an illusion such as “The
Sword Barrel” or “Grounded Metamorphosis” in between the transformation/
appearance of the girl and the final vanish of the girl.

41
OTHER PUBLICATIONS BY J C SUM
Illusionary Departures 2012 (Book) Corporate Illusions Made Easy (Book)
The Event Magician Vol. 1 (Book): The Event Magician Vol. 2 (Book):
Designing a Stage Show The Business of Magic
for Special Events for Special Events

42
Behind the Illusions (DVD) Urban Illusions (Book)

by J C Sum & ‘Magic Babe’ Ning
Pack Flat Illusions Equilateral 3 (Book)

for Kids & Family Shows (Book)
For a one-stop professional illusion resource, visit:
www.illusionbooks.com

43

J C Sum - Simple Showstoppers

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SIM PL E SHO W ST O PP ER S

THE SWORD BARREL 22

All Rights Reserved

© Copyright 2013 by J C Sum/ Concept: Magic

© Copyright Concept:Magic 2013

ABOUT THE AUTHOR

For more info, visit: www.jcsum.com

Read his blog at: www.backstagebusiness.wordpress.com

For a one-stop professional illusion resource, visit: www.illusionbooks.com

© Copyright Concept:Magic 2013

As I developed my illusion repertoire, I bought professionally built illusions as well as continued

© Copyright Concept:Magic 2013

© Copyright Concept:Magic 2013

© Copyright Concept:Magic 2013

METHOD & REQUIREMENTS

© Copyright Concept:Magic 2013

See Figs 1 & 2 for the illusion set-up.

© Copyright Concept:Magic 2013

© Copyright Concept:Magic 2013

© Copyright Concept:Magic 2013

METHOD & REQUIREMENTS

You will need 8 plastic "A-shaped" safety

The barricades are made from lightweight plastic

© Copyright Concept:Magic 2013

The four-sided curtain is similar in construction to the all-round curtain used in a

FIG 2 1” aluminum square tubing

Wing Nut/ Bolt Assembly

© Copyright Concept:Magic 2013

1” aluminum square tubing

Set up the barricades as follows:

© Copyright Concept:Magic 2013

 The remaining barricade is placed 6ft in front of the four-sided curtain.

© Copyright Concept:Magic 2013

© Copyright Concept:Magic 2013

© Copyright Concept:Magic 2013

THE SWORD BARREL

The swords are removed and the girl reappears unharmed!

You need to obtain a 220L plastic barrel that

The barrel is typically available in blue or black. You can

© Copyright Concept:Magic 2013

Creating the Sword Holes in the Barrel

© Copyright Concept:Magic 2013

See Figs 3 & 4.

© Copyright Concept:Magic 2013

 The barrel is set in the base.

© Copyright Concept:Magic 2013

Replace the lid.

© Copyright Concept:Magic 2013

© Copyright Concept:Magic 2013

© Copyright Concept:Magic 2013

The cloth is dropped to reveal that the woman is gone!

Acknowledgement must be given to Tina Lenert's "Mop Man" act as a point of

© Copyright Concept:Magic 2013

The Platform and Dance Pole

I actually suggest you purchase a professional FIG 1

There are quite a number of companies that

With such a set, you can permanently mount

The Projector and Pre-recorded Video

© Copyright Concept:Magic 2013

You will also need a short stemmed rose.

© Copyright Concept:Magic 2013

Third Hand Gimmick

6” x 10” pocket sewn

© Copyright Concept:Magic 2013