Al Koran Linkingrings

LINKING Finger Rings

© Copyright 2007. All rights reserved. eManuscript Version

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LINKING Finger Rings

© Copyright 2007 by TRICKSHOP.COM INC. All rights are reserved. No part of this publication may be reproduced or transmitted in any form by any means, electronic, mechanical, photocopying, recording, or otherwise, without the express and prior written consent of the publisher. This eManuscript is licensed for individual, personal use only. It may not be resold or redistributed in any form. Please report any case of infringement to “[email protected]”. TRICKSHOP.COM INC. P.O. Box 68441 Schaumburg, IL 60168–0441 http://www.trickshop.com/ [email protected]

LINKING FINGER RINGS

BACKGROUND Al Koran created a sensation when he first linked three borrowed finger rings on television in the United Kingdom. In the years that have followed, many of the world’s leading magicians and mentalists – from David Copperfield and Billy McComb to Kreskin and Ted Lesley – have added this stand-up miracle to their own acts.

The late, great Al Koran linking three borrowed finger rings.

Methodologies vary from Koran’s original split ring, which has a simple opening like the key ring in a standard linking ring set to an often expensive, specially-crafted, Himber Ring – featuring a hinged piece that opens and then locks shut, so the rings can be freely displayed or passed out for examination. While the benefits of a locking key are clear, anyone who owns one of these rings knows they can present their own set of performance challenges. In addition to slowing down the presentation flow, Himber Rings can be difficult to open and close covertly. ABOUT THIS ROUTINE This routine was inspired by Al Koran’s presentation and employs his split ring methodology. The major weakness usually cited in this approach is that the performer is required to hold or otherwise manually conceal the opening in the key ring when displaying the linked rings to a spectator. In the handling that follows, this problem has been overcome by utilizing a narrower gap. A simple idea, but one that enables you to handle the rings after linking in a more natural manner and display them in much the same way you would if you were using a Himber Ring.

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LINKING FINGER RINGS

PROPERTIES For performances, you’ll require a pencil and an inexpensive, plain Sterling Silver wedding band, 4mm or 5mm wide with an inside diameter of 20mm or slightly larger (US size 9+); prepared as described below. A ring of this type generally runs between $10 - $20 from the jewelry counter at a discount or department store. For practice purposes, you will need three additional, ungimmicked rings. Split rings are sold separately by Trickshop.com (see our web site for details) or you can modify a ring yourself in a few minutes with the right tools (see warning below). PREPARATION (DO-IT-YOURSELF) Using a vise and a power hobby tool, such as a Dremel® tool, or a jeweler’s saw; carefully cut an opening in the ring. Gently open the gap enough to permit sanding of the inside edges with fine sandpaper. By smoothing and rounding the interior edges, you’ll help assure that your gimmicked ring will not scratch or damage the rings you borrow. Once that’s done, set the gap to 2mm. This is wide enough to allow the rings you will borrow to pass through sideways, but still narrow enough to prevent borowed rings from inadvertently falling through the gap. WARNING: Power cutting and other tools are extremely hazardous and can cause serious injury or even death if not used properly and in accordance with manufacturer’s instructions. You choose to operate them at your own risk. Remember to following all precautions when working with these tools, including wearing the correct type of protective eyewear. THESE TOOLS SHOULD NEVER BE OPERATED BY OR AROUND CHILDREN.

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LINKING FINGER RINGS

THE ROUTINE You begin with the pencil in your right trouser pocket and the key ring finger palmed between the joints (not at the base) of the right second finger, as shown Photo 1. Note, with the right hand held perpendicular to the floor, the opening of the key is at “9:00” – resting against the top joint. “Have you ever seen a miracle? Well, I’d like to show you one. All I need are three gentlemen’s rings. Gold or silver, I’m not particular.” Begin at the far right of the room and look for a suitable wedding band. Plain is best and at least 4mm wide but not too thick (< 2mm). Rings of this type are fairly common and worn by many men, so you shouldn’t have too much difficulty finding a number to choose from in a large crowd. Position yourself to the right of the man who is handling you the ring, so it’s natural for you to take it from him with your left hand. As you are doing so, your right thumb contacts the upper edge of the key ring as shown in Photo 2 and presses against it – allowing the key ring to swing out slightly. This action is similar to a door on a hinge. Photo 3 shows an exposed view. The key ring is now in position to add the first borrowed ring.

Photo 1

Photo 2

Casually, transfer the borrowed ring to your right and in the process; slip it sideways through the opening. See Photo 4. This only takes a moment and is done without looking at your hands. Your right fingers close with the key finger palmed again between the joints of the right second finger with the linked borrowed ring hanging from it. To the audience, it appears as if you’ve simply placed the spectator’s ring in your right hand. Photo 3

Photo 4

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LINKING FINGER RINGS

Move to the center of the room and borrow a second ring. Repeat the same actions just described to add the second ring to the key, as shown in Photo 5. Close the right hand into a loose fist – finger palming the key again. You now have two borrowed rings linked to the key. Finally, locate a ring on the far left of the room. For this one, try to find a ring that is similar in size and appearance to your gaffed ring. At the very least, it should be the same color. Take the ring with your left hand as before, however this time your right fingers remain closed and you place it in the top of the loosely held right fist. See Photo 6. As soon as it is out of view, it is thumb palmed. You’ll note, the key ring acts as a “stop” – preventing the borrowed ring from dropping too far into the closed right hand.

Photo 5

Return to center stage and say, “Three gentlemen have been kind enough to lend me their rings.” Turn slightly to the left and with the back of your right hand to the audience; pour the key ring and two linked borrowed rings into the waiting left palm. The thumb palmed ring is retained in the right hand, as shown in Photo 7.

Photo 6

Direct all attention to the small pile of rings on your left hand. At this point, the audience is unaware that the rings are already joined together. Nonchalantly, place your right hand with the thumb palmed ring into your right trouser pocket and thread the ring onto the end of the pencil, before bringing it out. Show the pencil and point to the stack of rings on the left palm, saying “Here is the first part of the miracle I promised. Watch!” Thread the end of the pencil through three rings, as shown in Photo 8. If the rings are spread out; just push them together with the end of the pencil, before pushing it through.

Photo 7

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LINKING FINGER RINGS

Now comes the most visual and staggering moment in the entire routine, so make the most of it. Place your left forefinger on the back of the innermost borrowed ring (the one farthest to the right) and gently push the group of rings to the left end of the pencil. Allow the first two rings to fall off (borrowed and center key). See Photo 9. All three rings are now seen linked together. You’ll note, as the two rings fall off the end; the left finger keeps a hold of the third ring to prevent it from being pulled off the end as well. “Three rings…one continuous chain.” Pause and allow the audience to take in what has just happened. Smile and glance at the chain, as if admiring your work. What you’re actually doing is, noting the exact position of the opening on the center key ring. If it’s not underneath the top of the bottom ring; you’ll need to adjust it to that position, under the guise of steadying and centering the chain of rings on the pencil. This is easily done by rotating the key between your left thumb and second finger, as the back of the left hand provides cover. See Photo 10. Do make a secret move out of this. Rather do it deliberately under the pretense of adjusting and centering the chain. If you need a little extra time; push it as far as it will go to the right, then slide it back a bit the other way. People will assume you’re merely looking for the best spot to display the rings. As soon as you are able, lift your left hand away from the chain.

Photo 9

Photo 10

Keep in mind, unless you lift up on the bottom ring – forcing it sideways – a 4mm or wider bottom ring will not fall through the 2mm opening on the center key. If it does in practice, the opening on your key is too wide. In that case, gently push the ends of the key inward to narrow the gap a bit and try it again. Photo 11 shows the linked rings, as well as an exposed view of the third borrowed ring (concealed by the right hand holding the pencil). The right fingers should, of course, be kept closed during performance. With the opening of the key pointing down and out of view, you can now safely exhibit the chain of rings. When displaying it at close quarters, make sure to hold the pencil and rings slightly below eye level and under no circumstances, allow a spectator to touch the rings.

Photo 11

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LINKING FINGER RINGS

Point to the spectator who gave you the first ring (seated on the far right), saying “You gave me a ring, did you not sir?” Would you please come up and identify it? Otherwise, no one will believe it.” After he confirms that his ring is linked and forms part of the chain of three, have him return to his seat. Repeat this step with the man who gave you the second ring (from the center of the room). Bear in mind that each spectator ONLY KNOWS HIS OWN RING, so it’s the only one he can identify in the chain or is interested in, for that matter. Furthermore, when each man confirms that his ring is part of the chain, there is a broader implication that no substitutions have been made – thereby eliminating the idea of a switch, before anyone ever suspects it. Never mention this possibility outwardly, however. Let the audience reach this conclusion on their own. Point to the man on the far left who gave you the third ring. You cannot allow him to identify his ring “yet,” since it does not form part of the chain. His ring is threaded on the wand and concealed by the right hand. Hold the pencil and chain of rings toward him, as if showing him his ring on the chain. Remember, this spectator provided a ring that resembled your key ring (center of chain). He will not be able to identify his ring from any distance, but the audience doesn’t know that. “No need to come up yet, sir. The third ring is yours, is it not?” Gaze intently at the middle ring. “It’s a very nice ring too. Is that an inscription on the inside? It’s hard to see in this light. Watch this.”

Photo 12

Photo 13

The fact that you’re apparently discussing specific details about the man’s ring, as you look at it in the chain and while he can “see” it from his seat will help to reinforce the idea that his ring also forms part of the three-ring chain. No one has any reason to suspect otherwise. You’re now going to individually unlink the bottom and center rings. This is handled as follows. Lower the bottom ring onto the left fingers until it is at a right angle with the center key ring. At this point, it should pass through the opening in the key on its own and fall free onto the left fingers. If it does not, simply press down gently with your left thumb to push the ring through the opening. See Photo 12. Display the unlinked ring at the left finger tips, saying “As the old saying goes, there’s

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LINKING FINGER RINGS

always a weak link in every chain.” Thread the ring onto the left end of the pencil, as shown in Photo 13. Next, place your right thumb on the top ring to keep it from moving; while your left fingers lift the key ring and give it a half twist to unlink it. With the back of the left hand to the audience, display only the top part of the key ring at the fingertips – the opening is out of view. “And once one goes, the others follow. Three solid bands of silver (and gold)…are separate again.”

Photo 14

After displaying the key ring at the fingertips, thread it onto the end of the pencil. You’ll note the key ring is behind the fingers and thus, shielded from the audience’s view. As soon as the left fingers reach the two borrowed rings, see Photo 14; they close over the key ring. The right hand then releases its grip as shown in Photo 15 – allowing the third borrowed ring to join the first two – and moves away. The left hand immediately turns the pencil upward to display the three rings, as shown in Photo 16. This switch is performed in one smooth, continuous action. “Would the three gentlemen who lent me these rings, please come up?” As soon as they do, turn your left wrist to the right and tip the three rings into your right hand. As you extend your right hand with the rings, casually place the pencil and concealed key ring into the left trouser pocket. You’re now clean as a whistle.

Photo 15

Photo 16

Allow each man to take his ring. “Please examine your rings gentlemen and make sure they’re all in good condition. No cracks? Excellent. Let’s have a big round of applause for these men. Thank you again for your assistance.” Take a well-deserved bow!

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