The following description contains a method that we suggest you do not try. When Toru Suzuki first made the prototype of OH NO!, the trick allowed the performer to show the cut-off stump of a finger in the bottom tube, once the scissors were opened. If you insert a fake cut-off finger into the actual product, it is still possible to show the stump when performing this trick (although it will take some work to shape the finger stump correctly). However, no matter how perfect your fake finger looks, as soon as you show that stump to the audience they will realize that what you are demonstrating is impossible, and that the finger stump is indeed fake. Since your finger is actually separated, this results in creating a negative impact upon the effect. This goes to show that even experienced magicians can be trapped into thinking that such ideas might be good.

Melting! by Mark Setteducatti (U.S.A.)

This variation appears to be a demonstration of psychic powers. When you are pulling out the key at the end of this trick, do not pull it all the way out. As soon as the coin has returned to its proper location, leave the tip of the key inside of the hole in the case. Hold the case so that it is in a horizontal position, and the key is pointing downwards. Explain, "At this point, the tip of the key is still half-way through the coin." Allow your spectator to peek into the center hole from above, and they will be able to see the coin. In fact, the key is merely supported by the hole in the case. Say, "The key will now come out of the coin, bit by bit." Pull the chain and slowly remove the key. It will appear that the key is melting out from the coin. Immediately remove the coin from the case, and hand it out for inspection.


You can hand over to the spectator

When the Tenyo Development staff traveled to the Nuremberg trade fair in 1994, we had a meeting with Lubor Fiedler, the well-known Austrian magic inventor. Of the many ideas that he showed us at that time, the stand-out was INVISIBLE ZONE, and we signed an agreement on the spot to release this as a Tenyo product. Later, this trick was featured in the May 1996 review column of Genii Magazine.

The author, Danny Orleans, explained that he was on board an airplane, and he saw a stewardess perform a magic trick for a child passenger, in which she pushed a paper napkin into her fist and made it disappear. Orleans took this opportunity to perform INVISIBLE ZONE for that stewardess, since he happened to have it with him. After being completely fooled, she asked, "Can I try it myself?" He figured that she would immediately discover the secret, but after handing her the props and allowing her to examine them for a full 30 seconds, she still had no clue. She did realize that there was something special about the pen, but she could not conceive of how this would help accomplish the trick. She didn't even try to insert the pen into the case.

Orleans explains that on numerous other occasions, he has handed out the props for examination. He states that, among all of Tenyo's products, this trick has the most powerful effect, since you are able to hand out the props for inspection, provided that the inspection time is brief.

After performing this trick, Lubor Fiedler himself also hands out the case, the spring, and the pen to different people for examination. (He removes the gimmick from the pen and hides it in his hand. He then removes the pen cap, displays it, and explains, "This is a magician's pen.")

Invisible Zone in clay by Mago Anton

In July 2000, the FISM world magic congress was held in Lisbon. At one of the professional evening stage shows, there was an unforgettable incident involving Spanish magician Mago Anton. While handcuffed, Anton jumped into a large water tank. However, as soon as he entered, the walls of the water tank shattered and gallons of water gushed out to cover all of the audience members sitting in the front row. Anton himself is a magic inventor who is known for his extremely unique magic creations. At the FISM convention, Anton showed us his handling of Invisible Zone, and gave us permission to introduce this handling to readers of this website.

First, you must remove the lid from the case unit. This handling also does not use the spring. Obtain some molding clay and apply it around the entire case unit so that the case is completely covered, creating a rectangular block of clay. Remove just enough clay from the ends of the block so that both holes are unobstructed, and so that the pen can be easily inserted. Finally, in the rear of the unit, carve out about half of the clay that is in the space usually occupied by the spring. This will allow you to puncture a hole through the clay more easily during the performance.

To perform, take out the block of clay, and insert the pen so that the pen's tip can be seen coming out from the other side. While in this position, move your left hand so that it is in contact with the back of the case. Then, dramatically push your left pointer finger through the clay, creating a hole. It appears as if the center of the pen has vanished. While in this position, move the pen back and forth within the case. To conclude, remove the pen as in the original handling.

In this handling, you never show the actual case to the audience, so it appears as if you are performing magic with natural, everyday objects. Mago Anton's presentation is powerful, because he actually has several unprepared lumps of clay lined up on the table, along with the gimmicked block of clay. From amongst them, he picks up the prepared block of clay and then sticks a pen through it as indicated above.


First, run through the routine, as explained in the instructions, twice, having the Moai turn under cover to face the gemstones selected by the spectator. Then, place the cover back over the Moai, gather up the remaining stones, return them to their case and put the case away. You have no further use for them.

Next, remove twelve cards at random from a deck. Have the spectator select one of the twelve cards, have him or her look at it, and then return the card to the pack. Shuffle the cards well, and lay them face down in a ring around the Moai. Shielding the cover with your hand, as when performing the trick using the gemstones, remove the cover to show that the statue has returned to face a different direction. Turn over the card that the Moai is now facing; it's none other than the card selected by the spectator!

Before performing the trick in front of an audience, take out the Moai on its pedestal with the cover on, and see which direction it faces when the cover is removed. Remember this position, because the Moai will always turn to face a specific direction when not under the influence of the controller. Note that this direction is constant for a specific location, but will differ depending on the location itself. After the card selected by your spectator is returned to the twelve card packet, control it while shuffling so that it comes out on top. Then, when laying out the cards around the Moai, begin by placing the top card (selected card) in the position that you have determined in advance that the statue will be facing, and then continue laying out the rest of the cards.