Cellini’s Lord of the Rings Written by E.M. MCFALLS Illustrated by RANDY WILLIAMS Published by MAGICAL CLASSICSINTRODUCTION ‘The Chinese Linking Rings have passed through more hands and gathered more dust than any other effect in the history of magic. They have been twisted, hollowed out, bent, stretched, miniaturized, ostracized, and reduced from sixteen down to two. The key ring, itself, has undergone remarkable changes; we now have a locking ring. As an alternative let us take the normal key, rework the handling, and return the linking rings to its rightful place as a classic in magic. ‘The following pages are not concemed with a specific routine, rather a unique set of ideas challenging the reader's imagination to create a performance by which he may someday aquire the title "Lord of the Rings!"uring any performance we strive to handle the rings in the cleanest manner possible. Though each ring is shown slowly and deliberately the audience is led to believe the rings are solid for the way in which the rings are displayed is precisely that which misleads them. The mastery ‘of body motion, which makes these optical illusions conceivable, is absolutely essential. tis not enough to merely stand before an audience, each move must be accompanied by casual turning from side to side during execution.PRELIMINARIES Preparation of the Key Most standard key rings need litle, if any, prep work. However, the following hints may help. Never pull the key ring apart when you need a wider ‘gap; cut it! Treat each end of the opening with fingernail polish or any other substance that will deaden the sound should they meet accidentally. File a small ‘amount off each end of the opening to assure easy entry. The Basic Grips In handling the rings we use three methods when controlling the key ring, The first is familiar to those who use them in which the hand grips the ring with the opening at the base of the small finger (Figure 1). Figure 1. The second is the Clip Grip (Figure 2). Figure 2. The third is the Overhand (Figure 3). Notice how the ring is held with just the thumb, first and second finger only; thisis the same grip used when handling a solid ring as well as the key. Figure 3.EXHIBITING THE KEY AS A SOLID RING ‘The following phases tend to play with the law of optics thumbs above blocking the opening, and fingers below and, more importantly, deceive the mind as the ring is (Figure 1). As both hands begin an upward movement handled literally at the fingertips. the left hand pushes the opening into the crotch of the right hand (Figure 2). The ring is given a half turn as Turning of the Key both hands reach the highest point with the opening | hidden safely behind the base of the thumb (Figure 3). In lowering the ring reverse the process. This maneuver ccan be repeated as many times as you wish. Don't rush but, don't linger. Asmall illusion, very deceptive, simple to execute, and | appears asif the key ring is shown fairly and honestly. The ring is held with both hands (the position of the it. hands are exactly the same) slightly below waist level, | Figure 1. Figure 2. Figure 3.Illusive Side of the Key This move strongly implies the rings are solid. The key is held in the right hand, thumb below!fingers above, covering the opening. Both hands rest at the center of the body (Figure 1). OPENING Figure 1. The left hand, “palm upward,’ reaches the key and takes it “balanced” on the second finger (Figure 2). Figure 2. ‘The right hand releases its hold and gently pushes the “balanced” ring inward toward the body (Figure 3). Exposed View| Figure 3. ‘Simultaneously, the left hand turns over masking the ‘opening with the back of the hand. The moment the ‘move is finished both hands wipe along the sides appearing to turn the ring (Figure 4). Figure 4.Solid We begin with the body turned slightly toward the lett. The right hand hangs loosely by its side with the key ring resting in curled fingers. As the hand begins to lift the ring the thumb siips under just before the opening, Upon reaching chin level the palm is turned toward the audience, the ring balanced on the thumb, the opening hidden behind the base of thumb (Figures 1-2-3). OPENING ‘The first finger is brought into play by holding the ring securely in place (Figure 4). This prevents premature exposure. To bring the ring back to a normal position the thumb relenquishes its hold as the first finger is Exposed View Figure 2. Exposed View Figure 3. slipped under, the ring is allowed to pivot a half turn on its own volition, and the palm is tured upward to receive it blocking the opening from view (Figures 5-6). Fiaure 4, Fiaure 5. Figure 6.Audacity Usually occurs with a ring in both hands although it may be used independently. Begin with a ring in each hand held palm upward, arms spread as if receiving applause (Figure 1). Figure 1. ‘As the move begins the hands turn, palm down, ‘catching the ring with the fingertips (Figure 2). Figure 2. ‘The hand that holds the key ring performs the following action: the moment the hand turns the thumb reaches backward behind the opening and spins the ring inward causing ito pivot on top of the thumb (Figure 3) Exposed View Figure 3. At the same time, the palms toward the audience with the opening of the key hidden behing it (Figure 4). Figure 4.Arm Blocks In learning the basic moves you may have discovered the premise of “blocking” or “soreening” the key ring from view and you now know the thumb is a powerful ally. The hand, arms, in fact, most parts ofthe body, can be employed. Let's explore possibilties of using the arms and begin by holding the key ring with both hands, the opening in the “right” hand (Figure 1). ‘OPENING Figure 1. ‘As you start to turn to the right, the opening of the ring is laid against the inside of the left arm (Figures 2-3). Exposed View Figure 2. Figure 3. The right hand then takes the ring and slides the opening along the inside of the left arm into the waiting left hand (Figure 4), Figure 4. You have successfully, without suspicion, exchanged the opening from hand to hand.1 ‘An equally effective block can be accomplished by holding the key ring as in Figure 5. OPENING Figure 5. With the left hand the ring is revolved up and over coming to rest on the back of the right arm (Figures 67). Exposed View Figure 7. The body starts to turn toward the right as the left hand. grasps the ring firmly, palm upward (Figure 8). Exposed View Figure 8. At the time the turn of the body is completed, the left hand quickly rotates the opening behind the right arm (Figure 9). Figure 9. The body then returns to its starting position anc have successfully proven the ring is solid. Again, body movement and position is essential to this illusion.LINKS AND UNLINKS Tap Link The key ring is held in the left hand, the circumference facing audience, fingers on top. The solid ring is held with the right hand as in Figure 1. Take particular notice of how each ring is held, a “key” factor in a smooth execution. Figure 1. Tap the ring in the right hand against the side of the ring in the left several times. As the last tap is made the ring inthe right hand comes toa halt against the side of the key ring (Figure 2) Figure 2. Then it is turned toward the opening which is concealed by the frst finger and thumb of the left hand (Figure 3) ‘As this occurs the thumb slides away from the opening (the thumb is not lifted). At that moment two things happen at the same time: the body turns toward the left, and the first finger moves away from the opening allowing the solid ring to pass through (Figure 4). Figure 4. Itis important not to change the position of either ring (Figure 5). Figure 5. ‘The solid ring is lowered, net dropped, toits final place as shown in Figure 6; you will find this is the essence. Of the illusion. To free the ring simply turn stage front and reverse the procedure. Figure 6.Toss Up This is a capital effect: a ring is tossed into the air and falls noiselessly through another. The key ring is held in the left hand, the opening outside the hand, the left side of the body toward the audience (Figure 1). The other ring is tossed into the air (Figure 2). " \ soc N Figure 2. As it descends the left hand moves up to meet it (Figures 3-4) Because of the position of the opening it passes through silently. The right hand drops quickly to catch the ring before it strikes the bottom of the other (Figure 5). The body turns stage front as the left hand readiusts AUDIENCE Figure 5. Strike We begin exactly lke the previcus effect, except the solid ring is not tossed but struck, several times, just behind the opening of the key to prove impenetrabilty (Figure 6). The ring is raised as if to strike one final time then dramatically changes intent ands lowered slowly through the opening, The rings seemingly mel into one another. The body turns stage front as the left hand reagjusts. ‘AUDIENCE =Since the time of Roy Benson's Silent Heal Link there have been many endeavors to construct other approaches using this psychological weapon in which the rings are sounded and suddenly seem to melt into ‘one another, by magic. Here is a series of maneuvers that will send your mind racing. And, guaranteed to ‘send your audience away talking to themselves. Let us begin by holding the rings with the key in the right hand and the opening near the small finger, right side toward audience (Figure 1). The key ring is rapped sharply against the bottom of the solid ring loosely held by the left hand (Figure 2). Just before the final tap the right hand drops the third and fourth finger exposing the opening which allows the key to pass through noiselessly (Figure 3-4), Figure 4. Without moving the right hand the body turns lett Only then does the left hand release its grip (Figure 5), Figure 5.E.WwW. ‘Commence with the right side toward audience as in Mirage, the only difference being the way the key is held (Figure 1). Both rings are allowed to rock gently back and forth. ‘The opening is thrust completely through the sides of the solid ring (Figures 2-3). Figure 2. Figure 3. Onis return, it pauses and takes a downward direction penetrating the lower part of the ring (Figure 4). In laymens' view it went Every Which Way. The Hanging Key ‘The maneuver can be accomplished within a two or three ring routine and impedes the audience view by using a most subtle arm strategem. For illustration purposes let us use two rings assuming you are at a point in your routine where the solid ring is hanging on the key ring. The right hand approaches the bottom ring, palm upward (Figure 1). Grasping the solid ring you lift it above the key allowing the kay to rest upon it as shown in Figure 2. Figure 2. ‘Twist the top ring to force the opening against the right arm locking it into position, The left hand relenquishes its hold momentarily and the key ring is left hanging (Figure 3). The left hand grasps the key again as the body returns to its starting point.Phantom Links Effect: A ring is placed onto another in a straightforward ‘manner that precludes any false movernent, seemingly impossible, The key ring is held as in Mirage. Just as the rings meet, the opening moves away from the fingers allowing the solid ring to pass through and it continues until they meet at the bottom. This version while in effect appears the same is not. ‘The ringis held in the standard grip as shown in Figure 1, the solid ring is leveled up, the key ring is brought in front of it (the opening against the solid ring) moving slowly backwards until penetration is realized (Figure 2) Exposed View —Aunience, Figure 1. Figure 2. ‘Assuming you are using the Hanging Key, at that point the left hand takes the ring firmly, palm upward (Figutes Both rings are snapped against the left forearm unlinking in the process (Figure 5). Exposed View Figure 5. With your left side toward the audience, the rings are slowly separated (Figures 6-7). Figure 6. Figure 7.Toss the ring, just disconnected, into the air. Upon " catching it, take the opening key which lies alongside , of the left arm and turn stage lett as you do (Figures | 89). 4 {i} ) Figure 8. Figure 9. ‘Swivel the key ring up without releasing the grip of the right hand (Figures 10-11). The link is automatic. Figure 10, Figure 11, Lower the back ring (Figure 12). Bring the key ring above your head and blow where the rings are joined together. Release your grip with the left hand (Figure 13). Figure 12. Lower the key behind your neck (Figure 14) Figure 14.VARIOUS AND SUNDRY TECHNIQUES Cartwheels ‘At the outset, the body is turned sideways to the audience with both rings clutched in the fist. The hand ripping the key is furthest from the audience and held slightly higher than the other ring. With the opening at the base of the hand both rings are spun on the first finger. As the spinning takes place the hand holding the key descends and the hand with the solid ring moves up thus masking the opening as it swings into the waiting hand, Finger Spin A dramatic display of a single solid ring can be had by holding a ring balanced on the middle fingertip then rolled around the first knuckle and back to its original position, slowly, several times. ‘Two-Hand Spin Another direction of dramatic display comes about by holding a solid ring with one finger of each hand, rotating it slowly. Ityou are a novice to the rings take particular notice of the rudiments of this move. itis a basic effectin which the key ring is spun between both hands as the body moves away from the audience. Figure 1 shows how to place the opening against the palm of the hand. With the opposite hand give the ring a sharp inward twist accompanied by an upward motion as shown in Figure 2 and the opening will not prematurely expose itselt. After alittle experimenting you will find it quite easy to do. Figure 1. Figure 2.BIZARRE ODDITY Grab the ring, pretending to rotate it (Figure 5). Thru the Hand In its infancy this maneuver was rejected yet itis effec tive, particularly with just two rings. Sometime in your routine you take the key, strike your other open hand, and, whenever you like, drop the key to where it } appears to penotrate halfway through your hand | Figure 1). } Figure 1. | Rotate your palm toward the audience as shown Figures 2, 3 and 4, and return to your original position. Figure 2. Figure 3. Figure 5. ‘Toremove yourself from this predicament display your open palm as shown in Figure 6. Return to stage front as you adjust the key using any one of the blocking techniques. Figure 4. Figure 6.