So

'You say you get a burning sensation qfter meals?'

Correction to Ian Land's 'TECHNICOLOUR DEPARTURE' (Vol: 7Number: 11 Page: 1137.)

I have a correction to make to "Technicolour Departure" - the opening I gave in my original write up is I think unsatisfactory. The following makes it much easier to intergrate the routine into a performance

The red pack is set-up exactly as in the original. Now, case this pack & place it in a pocket. You will also need a blue backed pack, which is not set-up in any way.

1) Remove the blue pack from its case & perform several card effects. When you want to perform this, quickly run through the face up pack & cut it so that the KD is about 12 cards from the back (rear). Make sure there are no other Kings between the KD & the top of the pack.

2) Patter, "I need the four Kings." Run through the pack & up-jog the four Kings. The KD will be the last King that you come to, & should be up-jogged for slightly less of its length than the other three Kings. Square the pack, leaving the Kings up-jogged. A side view would look like this:

Your right hand now comes across and pivots the Kings clockwise & to the right. As you do this your left index finger pushes the lowermost King (KD) flush with the pack, so that only 3 Kings are pivoted out & into the right hand. Table the pack, turn the Kings face down, & table them. (Note: Unsurprisingly, this is a Mario technique. This description is adapted from one* in Sticks & Stones 5.) If you wish, before tabling the Kings you can give them a threeasfour Elmsley Count, although it is not necessary.

3) Patter, "I also need a red pack. " Remove the red cards from your pocket, uncase them, & begin "Technicolour Departure" from step 3 of the original.

Additionally, you may like to mention that the idea of using the Olram Subtlety to show a vanish (with only the secondary purpose of reshowing the backs), as in step 7 of "Technicolour Departure," Comes from Gene Castillo n's excellent "Colourful Cannibals," in Kabbala Three (1976).

Performance

Borrow the ring and assuming that it has come either from the person standing on your right or from a member of the audience on your right, slip it onto your right hand finger.

The wand has been examined by both spectators and should now be under your left arm. Make sure that the end of the stick is pointing downwards slightly as this will make the loading of the ring onto the stick much easier when you later attempt it. Display the ring to the spectator on your right and if you like use your hoard of 'ring' gags.

Remove the ring and show it to the spectator on your left. You now appear to toss it into your left hand but in reality you fake the action and retain the ring in the finger palm of your right hand. You may prefer to retain the ring in the classic palm, it's entirely up to you.

The misdirection for the move is covered by talking to the spectator and not paying any attention to the ring.

The left hand has formed into a fist apparently around the ring. Take the wand from beneath your left arm and allow the ring to slide onto the wand but keep a grip around the wand and ring and use the wand to point to the left fist as you explain that you will attempt to pass the ring onto the wand.

This next move is cheeky but very effective.

You allow the tip of the wand to actually contact the left fist and this gives you the opportunity to slide your right hand along the wand to a position just short of centre.

The ring is already on the wand and covered by the right fingers.

You now toss the wand into the left hand, which opens slightly in order to catch it. During this action the wand is heard to strike the ring and the illusion is perfect that the ring was in the left hand.

Ask both spectators to take hold of an end of the wand and you're all set for the penetration.

Rotate your left hand so that the knuckles are uppermost as when you lift your hand from the wand it looks much more effective than dropping your hand away from the wand.

Open your left hand and the ring is seen to have somehow passed onto the wand. You are now about to follow the penetration with a release of the ring from the stick.

RING ON STICK Keith Charnley

Sorry about the unimaginative title but I can assure you that the following routine will more than make up for it!

You'll need the customary wand, stick, pencil etc. Keith points out that it's a nice touch to borrow a drum-stick from the band, depending on where you're performing.

We'll assume that you're using a wand and by now you've coaxed two spectators from their seats and one is standing on your right and the other on your left. Ask for the loan of a finger ring. You should have invited a spectator wearing a ring onto the stage so we'll assume that you're all set to go ... .

I almost forgot. . . You'll require a small snap-shut purse with a key ring attachment as illustrated in Fig: 1.

This type of purse can be easily opened by squeezing the opening and it closes automatically when you release the pressure.

method, which is to be found in the book 'Ken Brookes's magic.'

Briefly Place the palm of either hand against the ends of the wand and by raising one hand the ring will slide along the wand and onto the palm of the other. Cause this to happen a few times as you have the ring identified.

Now for the move . . . You appear to form a fist around the ring and slide it back to the centre of the wand again but in fact you allowed the ring to come off the end of the wand and you have actually mimed the action of sliding it along the wand as the ring is merely slid against the wand on the outer surface of the ring. The situation now is that your left hand is formed into a fist apparently over the ring which is assumed to be still threaded onto the wand. In fact the ring is free in the left hand and you now work it out to the rear of the fist until it is clipped by the fingers against the heel of the fist.

Ask one of the spectators to grab hold of your left wrist and under the action of showing what you mean, you steal the ring into the right hand.

Remark that you have a second ring and so saying, reach into your pocket with your right hand, open the purse and drop the ring inside. Close the purse and remove it. Place your finger through the key-ring attached to the purse and ask one of*the spectators to release his hold on the end of the wand for a second.

Slip the key-ring onto the wand and allow it to enter the left fist.

Ask the spectator to once again hold onto the end of the wand and after a suitable build up .. . remove your left hand to show that the finger ring has vanished. Where can it be?

Ask the spectator to remove the purse, open it and remove what he finds within. /

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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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