Preparation

The chair you sit on should have a cushion on the seat under the cushion place a solid (9" diameter) ring. It is as well to put a newspaper on th chair first to stop the metal ring making any sound on the wood during performance. The ring can be slipped quietly between the sheet of newspaper and the cushion.

On a table or chair behind the subject place a similar ring with a break ("Key Ring") and with it the rod. The key ring may be covered with a folded newspaper if necessary. That is all the preparation which is needed. The third and only visible ring is held in the hands.

PART ONE: THE RING GOES ON

"Now we are ready, please make yourself comfortable. I want you to sit upright and this ring I shall place over your knee."

1. Do not ask to have the ring examined, simply show it casually and then place it over his left knee. He sits facing you and your chairs should be fairly close together.

"Now I want you to put your elbows on your knees — that's right, over the ring for the moment please."

2. He must put his elbows on his knees and "trap" the ring with his left elbow. Please note, when I say "Left or Right" I mean as you see it facing the subject. In actual fact it is his right knee but it is the one on your left. The drawing shows the first steps:-

"Now please join your hands together and hold them tightly closed. We are about to begin the experiment, so I shall ask you to close your eyes now, and remember what I have said, you will enjoy this if you do not look, there is nothing much to see anyway. Close your e^es please and from now on listen to me and I will tell you what is happening."

"I am going to take the ring off your knee and try the first test. I am pulling it off now and — oh! you should have examined it so will you please take it in your hands and feel it all round, it is strong metal."

3. With the left hand, pull the ring off the knee and he will feel it go. At the same time, with the right hand, reach under the cushion (go between your legs) and pull out the other solid ring. As soon as the ring is free from his knee you introduce the patter "Oh! you should have examined it" and immediately push the left hand ring into his hands telling him to feel it. You make sure that he takes hold of it with both hands, if necessary saying, "Take it completely and feel all round."

"And Hold it tightly — grip it, I'm pulling it so you can tell it is strong metal, you can feel it right?"

4. With your left hand you take hold of the ring he is holding and push it into his left hand (your side again) makipg him grip it. Now pull fairly hard, drawing his hand away to the left and iri effect forcing all his attention on this hand. At the same time pass the ring in your right hand over his right arm which you will find conveniently sticking up in mid air.

The drawings show the position occupied by the spectator. Number five shows the arm being pulled to the left to allow the second ring to be passed over the right. As soon as it is over the right arm, stop pulling and say :-

"Let go now please, let me have the ring and rejoin your hands."

5. They rejoin their hands and in doing so enclose ring number two on their arm. The effect is accomplished, the presentation and misdirection continues.

"Now, I am going to touch this ring to your forehead (DO SO) do you feel it? And I will bang it here on your sorry dropped it."

6. The touch on the forehead is powerful misdirection because they feel it and still think it is free so as to speak. Next we resort to misdirection by sound. As you say "And I will bang it on your. . " holding it in the left hand, deliberately take it within three inches of the floor and drop it — they hear it on the floor a long way from their hands! All this time, which is really only seconds, you are holding the other ring over their arm very carefully in the right hand. At no time must you knock this ring against their arm. Do not drop it from a height of more than three inches because it may roll away and you cannot go and fetch it back!

"I'm getting clumsy! As I was saying, I will bang it on your arm just about here — can you feel it?"

7. vis you pick up the ring with the left hand, take it to the cushion, stand slightly and tuck it underneath. At the same time with the right hand, holding the ring tightly, bang it on their arm between the wrist and elbow by pulling down sharply two or three times. It is impossible to tell that the ring is over the arm when this is done.

"Right, you can feel it so your senses are still normal, now I am going to surprise you — when I count three open your eyes and I will try to do something that you cannot feel. Keep your hands tightly locked all the time, don't give me a chance to cheat you!!"

8. Count three and as you say "Three" bang the ring fairly hard on their arm and swing it and let go. They open their eyes and look and sit their with their hands joined and the ring on their arm. Give them a moment to understand what has happened and then, before they have fully recovered, prepare for the next step in the routine.

PART TWO: THE RING COMES OFF

"Take the ring off please, you see it is solid, let me have it. Now I will try something else, let me see — I need some sort of stick — perhaps that rod would do — excuse me a moment."

9. Holding the ring, get up and quickly go to the back table. Put this ring down and pick up the key ring and the rod and return. In the meantime, our subject will note the empty seat you sat on just in case they thought you were sitting on an extra ring.

"This rod should do — but it might not be suitable. Will you hold it by both ends please — at the very tips — that's right."

10. Draw all attention to the rod and away from the ring. However, as you say "The very tips please" hold the key ring up with fingertips supporting it at each side as though to demonstrate what is to be done with the wand. The right first-finger and thumb conceal the gap and you have shown the ring without having it examined.

"Now let me pass the ring over the rod please, thank you. For this test I am going to knock ten times on the rod, each time I knock I will ask you to count out loud one, two, three and so on; when I reach ten, as I say it, will you call out 'ten' as usual and at the same time open your eyes and look — only as I say ten you open your eyes and then you will see what I will do — the counting is only to 'condition' you."

11. The ring is held in the right hand threaded over the rod. The gap is concealed from view pinched between the thumb and first finger. As you speak about knocking ten times, slowly and deliberately knock by tapping the ring on the rod to demonstrate what is to happen.

"Right, we will begin, so once more close your eyes please and remember open them quickly as I say ten."

12. The right hand begins to knock slowly and deliberately. The left hand reaches under the cushion and quietly removes the solid ring left there from the earlier trick. It brings this ring over the rod and as you reach the count of four, instead of knocking with the key ring, knock with the solid one and continue to do so whilst you slip the gap round with the right hand key ring, when in the right position, you gently slip the key ring off the rod, which is best done at the same instant the other ring hits the rod for one of the counts. The sudden jar of the ring on the rod hides the slight sound that might occur as the key ring comes off.

"Keep counting out loud, remember you must only count when I knock so you must pay attention."

13. The key ring should be off by "Six" and is taken with the right hand and pushed under the cushion. Be careful that a finger-ring does not cause it to sound when being handled. As soon as it is under the cushion, the right hand takes the solid ring from the left and the count is continued. However, as you reach "Eight", instead of knocking on top of the rod, move to the front of the rod and knock, then for "Nine" come a little lower and for "Ten" the ring is knocked upwards on to the rod.

"We are nearly there, be ready to open your eyes as I say ten."

14. For the last cound, the ring is held just so:-In the right hand, index finger (first) extended along the top of the ring, fingernail upwards, and the ring supported between the thumb and second joint of the curled second finger. All other fingers being curled. As you come to knock for the tenth time, bang the ring upwards and immediately slip the index finger over the rod, wait a brief second for the subject to open his eyes and as he does so, grip the ring on to the rod and pull towards you and in a slightly upwards direction. The illusion is created of the ring passing through the rod. As the subject has had his eyes closed for quite some time, he cannot focus them quickly on what he sees and for a second he will see the ring on the rod and then see you pull it off.

"Look! you see the rod is strong — the ring is solid and you are holding both ends — yet it is free, please take it."

15. Hand the ring to the subject and leave him with the rod. He will examine both and find they are solid, again there is no explanation.

"You look perplexed and I am not surprised! What you must now decide is did it happen — or was it your imagination. Perhaps the ring was never on, perhaps I made you think it was, perhaps it was on your arm all the time and you couldn't see it or feel it — take it over to the light and have a look for a join — perhaps it is a trick."

16. Whilst he goes over to the light, you calmly reach under the cushion and pull out the other ring — this, you push under his chair or down your trousers.

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Fundamentals of Magick

Fundamentals of Magick

Magick is the art and practice of moving natural energies to effect needed or wanted change. Magick is natural, there is absolutely nothing supernatural about it. What is taught here are various techniques of magick for beginners. Magick is natural and simple and the techniques to develop abilities should be simple and natural as well. What is taught on this site is not only the basics of magick, but the basics of many things.

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