HIS IS MY INTERPRETATION of a
Jay Sankey routine called "The Odd Coin" (from <-o his .1987 Up for Adoption lecture notes, p. 18).
Juan Tamariz provided the move (perfection and ^
grace) that makes it possible.
A fistful of change is borrowed from the audience and poured into a small change purse. I mark one of the coins on both sides with an X, so that everyone can tell it from the others. The marked coin is mixed in with the rest. Shake, shake, shake. Without looking into the purse, 1 am able to reach in among the coins, feel around for a second or two, and extract the marked one. A demonstration of superhuman sensitivity? No, because when the contents of the purse are dumped out, all the coins have changed into duplicates of the marked one.
To do this, you'll need two identical coin purses. They should be small enough to hide in your cupped hand. Don't get crazy now; you don't have to palm them or anything; just get smallish purses. You'll also need about thirty dimes. Take a black permanent marker, and put a large X on both sides of all the dimes. These go into one of the purses. The purse full of dimes goes into a left-hand pocket. The marker goes into a right-hand pocket, along with the empty purse, and away we go.
I begin by passing the empty purse around and inviting everyone to drop a few coins inside, 1 put a stop to it when I have a good mix of change and the purse is about half full.
A dime is removed from the change in the purse, letting everyone get a good look at the mix of coins inside. I place the dime on the table and snap the purse shut, holding it in my right hand. I will now switch the two purses while getting out the marker. Til briefly describe Tamariz s doubie-crossing-the-gaze switch, but you owe it
in yourself to study his full description in The Five I'oirits in Magic (J 988, p. 24). (In truth, you owe it to yourself to carefully study all of that volume,)
I glance toward my left pocket as I say I need a marker to mark the dime (figure J). My left hand goes into my pocket and takes the loaded purse into a
loose fist. In my face and attitude I express that I didnt find what I was looking for.
Two things happen almost simultaneously: I move my gaze to my right pocket as my left hand comes out with the purse concealed in it. I continue to stare toward my right pocket while my right hand pretends to place the visible purse into my left hand (figure 2)— but in reality a shuttle pass is performed. My right
hand retains its purse in a loose fist and the purse in my left hand is brought into view. My right hand immediately (not guiltily) goes into my right pocket, leaves its purse, and brings out the marker (figure 3). Done well, this is a perfect and invisible switch of two objects, I regularly use this choreography for a deck switch and I never get busted.
I put a large X on both sides of the dime. The marked dime is dropped into the purse (with its many counterparts) and I shake them all up, I am chatting about sensitivity and safe crackers and Braille. Remember that the apparent effect will be supersensitive fingertips.
Making sure that no one thinks I'm peeking, I reach into the purse, feel around, and remove a coin. 1 dramatically reveal that it is the marked dime.
Finally, I confess that I'm. not really all that sen-sitive. I cheated as only a magician can. I slowly dump the contents of the purse out with a flourish. AH those marked dimes are a very surprising sight.
Some will object to not returning the borrowed change. If you are one of those, just don't borrow the coins at the beginning. Instead, pass the first purse around, so that everyone can see the variety of coins youve put in it.
I prefer to borrow the coins and beg off at the end by commenting on the cost of seeing good magic. "It's around three bucks. Get over it."
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