The Ellis ring and shell and a wand. Also of great necessity is the ability to act. The style of presentation is extremely important—aim at giving the impression of being as befuddled as the spectators wEen the unexpected occurs. METHOD: Phase 1.
Introduce the shell-covered ring and have the wand' at hand. Hold the ring (plus shell) in the left hand. Borrow a handkerchief, receive it in the right hand then place it in the left hand as in the original effect. Take the wand in the right hand and announce an effect using " a ring " (point to it with the wand), " a handkerchief " (point to it also) " and a wand " (hold up the wand then place it under the left arm).
Make the necessary key move with the ring and handkerchief then put the handkerchief (with ring now half-way along it) upon the left shoulder so that the ring is not seen. Display the shell (as the ring) using the right hand. Apparently pass the shell to the left hand but really retain it concealed in the right hand and immediately take the wand in the right hand.
Emphasise that you will use nothing other than three articles—" the handkerchief " (point to it with the wand), " the wand " (hold it up), " and the ring " (point to the left hand and open it as the tip of the wand reaches it). Register surprise at the disappearance of the ring then, after a short pause say, " Let's check again. Here is the wand (hold it up), the handkerchief (remove from shoulder with the left hand) . . . and . . . why there's the ring (tap the ring with the wand) . . . I wonder how that got there."
Replace the wand under the left arm and remove the ring from the handkerchief. Phase 2.
Now perform "Paquette's Baguette" (Reference 18). Two courses are available here : if you wish to perform the effect exactly as originally described then, on removing the ring from the handkerchief, hold the latter so that in taking the ring the right hand comes opposite the opening of the left sleeve and drop the shell therein—the ring on wand effect can then be done with the ring alone. If desired, however, the shell can be retained palmed during the preliminaries then used pressed behind the handkerchief to aid the illusion that the ring is under the handkerchief when, in fact-, it is not. In this case you must, of course, palm away the shell before the climax. Phase 3.
Offer to repeat the penetration. Take the ring, secretly replace the shell upon it then perform " Ring in the Knot" as described in Part 3. Play up the registration of wonderment at the non-appearance of the ring on the wand in line with the presentation theme before finally dropping the handkerchief on the table (or * accidentally " on the floor if no table is available).
Reference 11.—BILL LARSEN, JR. ON ELLIS—Bill Larsen, Jr. M.UJVI. Vol. 42, No. 9, p. 252 (February, 1953).
A particularly clean cut version of the ring on stick type of effect, no cover other than that provided by the hands being required.
Reference 12 —WITH THE JARDINE ELLIS RING, No. 1 OF A SERIES—Roy Short. "The Magic Circular" Vol. 47, No. 522, p. 150 (February, 1953). An effect wherein the ring is passed magically from
OF RING TRICKS
the performer's hand to the centre of a handkerchief draped over his shoulder.
It is interesting to note that Mr. Short makes the same point as is dealt with in "A Word on Basic Procedure" and his effect incorporates a neat method of secretly introducing the solid ring over the handkerchief.
Reference 13.—TWO JARDINE ELLIS RING-ON-RIBBON ROUTINES—Bertram Millidge. Edited by John J. Crimmins, Jr. Published by Holden's
Magic Shops, 1953.
The first routine, entitled " A Ring and a Ribbon," has five phases. The first phase uses the shell as in Reference 2, the next three phases use the solid ring only and in the final phase the ring is secretly switched for a split ring to provide a strong climax.
In the second routine, entitled "A Quick Ring Trick," there are two phases, the shell being used in conjunction with the split ring thus enabling a surprising double penetration to be effected.
Reference 14.—THE PAIGE ROPE AND RING ROUTINE—R. P. Paige. The Linking Ring, Vol. 33, No. 11, p. 58 (January, 1954). A steel rin g is passed onto the centre of a rope— both ends being in view at the time
Refere-ce 15—THE RING OF THOTH-Nelson Hahne from " Smart Magic " by Ralph Hull and Nelson Hahne Published 1935. This ring and handkerchief penetra» tion effect depen ent on the use of a duplicate solid ring is listed because it is particularly suited for use with the Ellis Ring, the shell taking the place of the duplicate.
Reference 16—EPILOGUE TO THOTH—Hans Trixer. Peter Warlock's "Pentagram", Vol. 6, No. 7, p. 49 (April, 1952).
Describes a method for producing the effect of "The Ring of Thoth" using one ring only.
RING AND STICK EFFECTS.
Reference 17—HARNESSED—Bill Simon. "Phoenix",
No. 254, p. 1014 (May 2nd, 1952). A method for passing a ring, wrapped within a to b«
handkerchief, on to .a wand — only one ring is used. Suitable as a "lead-in" effect to an Ellis ring on wand sequence.
Reference 18—PAQUETTE'S BAGUETTE. "Phoenix",
No. 271, p. 1.085 (December 26th, 1952). Similar in effect to Reference 17 but using a different method.
EFFECTS BASED ON " SEFALAIJ1A."
Reference 19—RING, ROPE AND PIN (two versions). Tarbell Course in Magic, Vol. 3, Lesson 36, p. 81. This is a close up effect in which a ring is passed on to a bight in a rope, the bight being formed by securing the rope at two points with a safety pin. In the first version a handkerchief is used as cover; the second version requires no cover.
This effect, and the three that follow, are based on part of a routine devised by Stewart James entitled "Sefalaljia" and first published in the late Annemann's "Jinx" No. 69, p. 471.
Reference 20—TOM OSBORNE'S RING AND SPIRIT KNOT. Tarbell Course in Magic, Vol. 3, Lesson 36, p. 83.
In this variation on "Sefalaljia", a handkerchief is used as cover but the pin is eliminated, the ring being passed into a knot on the rope.
Reference 21—FOURTH DIMENSIONAL SEWING— L. V. Lyons. Annemaimfc "Jinx" No. 100. In this version the ring penetrates a ribbon in which a bight has been formed by stitching while both ends remain in full view.
" Ah wish you'd give n e a few tips like," aaid one of the young men. " Ah do a bit at kids' parties. Not up your street, of course 1 "
" Ah should think not," said Lil. " His is more of the ' Can't-think-what'»-gone-wrong' variety.
Guy Cullingford—" Conjurer's Coffin."
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