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At the outset, the loose copper coin and bag are in the deepest part of my pocket, toward the inside of my thigh. When I secretly dump the quarter for the vanish, it is released higher up and toward the outside of my leg. It would eventually work its way down into the deeper part of my pocket, but it isn't there long enough for that to happen. So when go in, I go to the copper coin and finger-palm it, and then pick up the quarter at my fingertips on the way out. Got it? Now where was I?

My left hand drops the lighter into my left pocket, and then takes the visible quarter from my right hand. "You see, when a coin disappears from my own hand, you can always assume that there was some sleight-of-hand involved." Here, I momentarily close my left fingers over the coin and then open them again, so that the coin rests on my palm. "But if I could make it disappear from your hand, that would be something."

extend my left hand with the quarter to the spectator I think will react the strongest (remember that we were talking a while before we got to this) and say, "Hold your hand out flat like this."

My right hand pretends to pick up the quarter, using Slydinis fake take. My right thumb presses

down on the inner edge of the coin, so thai my up In fingers can slide under the quarter as if pivp.n to pick it up {figure 3), As soon as my fmr/'i'. .m-seen to go under the quarter, I begin to turn my 1« \\ palm toward me, and the right hand lets l in- qn m ter fall back onto my left hand (figure 4). My i

I Kind moves forward as if holding the quarter, and my left hand drops naturally to my side. No attention is paid to this action, I hold eye contact with ihe spectator,

"If I coald make this coin vanish from your list:, you'd be really amazed, wouldn't you?" I want to get an affirmative answer to this question. And during the question and its answer, my right \\.\nd lets the copper coin slide to the fingertips .wid places it into the spectators hand- Still mainlining eye contact, I close her hand around the i upper coin and turn her fist over.

"Well, that's exactly what IT1 try to do." Long junse, looking around at everyone. "The problem is, I cant make it vanish while everyone's attention is focused on it. So squeeze that, and let me .how you something else.

"In here is a very unusual coin. My dad gave i!»is to me when he came back from a trip to It i rope when I was a little boy. It's like a good Itu k charm to me. It doesn t work, but I carry it

.niy way" Here, my right hand goes into my pocket .Mill brings out the bag containing the duplicate - <>|>piT coin. Using both hands, but keeping the • ju.u (or concealed, I open the bag and take out eric me a n the copper coin. My left hand drops the bag into my left pocket as attention is on the copper coin in my right hand. The quarter is still hidden in my left hand.

"This is a copper coin. It's an English halfpenny." Another long pause. "Look at what's happened—I have taken your attention off the quarter you've been holding by getting you to take an interest in this coin." With this, I classic palm the copper coin in my right hand and pretend to toss it into my left hand, which closes over the quarter. This switch should look identical to the vanish of the quarter I performed at the beginning of the routine.

"And that's all it takes. The quarter you are holding vanishes from your hand and appears over here." My left hand opens, showing the quarter instead of the copper coin. My right hand is still classic palming a copper coin, but I use it to dramatically turn over the quarter a couple of times on my left palm.

"And if the quarter vanished and appeared here, my lucky coin must be in your closed hand." As she opens her hand, 1 loudly say, "Impossible!" My right hand takes the quarter and it is absent-mindedly dropped, with the hidden copper coin,

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into my right pocket. Ail my attention is on the coin in my helper s hand and the miracle we have just experienced.

That's it. Standard moves and simple choreography. I like its simplicity. That is where its power comes from. A couple of things before we move on:

Notice that I never ask the spectator about the coin after it is in her hand. 1 think this is a mistake, but 1 see lots of magicians do it with this type of effect. They say, "Can you feel it in your hand?" or worse, "Now remember, you are holding a quarter..." Here, there is only one coin in play and you hand it to her. The spectators believe it with all their hearts, so to say anything further about it tends to place doubt in their minds.

After the effect, you have a great opportunity to practice what I call the art of "post-performance coloring." What that means is, I reinforce what I want them to remember, and that's how they will remember it. It would go somethinglike this: "Think about it—I never touched you. You were holding a quarter and it vanished from your hand, and no one over touched you. Its impossible. Then that coin appeared in your closed hand—and you don't know how to do sleight-of-hand tricks, do you? [No.] So there was 110 sleight-of-hand, my sleeves are back and my hands empty but that doesn't matter anyway, because it happened in your hand. What did it feel like at the moment it happened?"

Asking the question in this way virtually guarantees that you will get some kind of answer that you can interpret and color, so that she will later swear to everyone that she felt something when it happened.

Look again at the wording I use in the post-performance coloring. If you drive it in right> these are the very words these people will use when they describe the effect to someone else. I first learned this technique from Juan Tamariz, It can and should be applied to many many effects.

Finally if you keep a half dozen or so flash-paper balls hidden in the bottom of the bag that the duplicate copper starts out in> the reset is simple and fast. You don t even have to go off to a corncr. fib

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