Method

As far as the technical side of the effect goes nothing more than a shell and a false transfer are needed. This effect does however make use of some linguistic ideas that convince the spectator of an untrue situation.

Begin by placing the coin, nested with the shell, shell side uppermost onto the spectators upturned palm. This is a scary moment the first time you perform it, leaving a gimmick such as a shell in a spectators palm is a gamble, but in my experience when you allow the audience to look at something suddenly they no longer want to. I use this handing of gimmicked items out in several effects and have enjoy a very god level of success with such thinking.

Ask the spectator to close their fist firmly and tightly over the coin they hold. Depending on the shell you use, it may stick to the palm of the spectator and move away from the coin when the spectator opens their palm, I use a very deep Old English Penny shell. Trial and error will see which shell works and those which do not.

Introduce the idea of retaining the sensation of holding the coin:

"As humans the sensation of touch is something we all experience everyday of our lives. We touch and are touched on daily basis. Be it by another human or an object, touch is something we all require. Something I find a little unusual is the way a feeling can linger long after the contact has passed. For example even after removing your watch it is very strange the way it still feels as if it is around your wrist or a necklace or finger ring. I am sure you know what I mean yes?"

Here I ask the spectator and actively try to encourage them to engage in some kind of conversation and recall a memory of when they experienced such a sensation. It all adds to the overall deception.

Continue:

"I would like to use that strange sensation of an object remaining o try something very strange. Would you just open your hand for a moment?" Now move to the coin, covering the exposed side of the spectators hand with your arm, lift the shell from the coin, and instantly close the spectators hand. (Much as if a sponge ball sequence) I then further develop the examples to reinforce the idea of the coin still feeling like it is held, but is not;

"It's weird isn't it? I mean you can still, if you really think about it feel the sensation of the coin in your hand...is that not strange? You know its not there, but you could swear it is"

As this is said I display the shell at my fingertips. Try to focus your spectators attention on he coin held at your fingertips. The spectator has had their mind and their eyes fooled into thinking the coin has been removed.

"Lets try something strange, I want you to really focus your attention on the way that coin felt when you held it"

Notice the use of the past tense. I as the above is said make a false transfer of the coin as I appear to pass it from one hand to the other.

"You see the more you focus on how it felt a moment ago, and the more I forget how it feels right now well something really weird happens see what I mean?"

Here I open my hand to show the coin has gone, and gesture toward the spectators hand. They will open their hand and find (if done correctly) to their surprise the coin once again.

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