For the actual touching you just need to make sure that you have the observers together in a group (the easiest way to do this is to have everyone stood together, then move the volunteer to where you need them to be), so that whilst you are moving your hands up and down the arm you can momentarily shield the actions of one hand with the other, and at this point you quickly and nonchalantly tap the arm with the middle finger of the hidden hand (obviously the volunteer has their eyes closed at this point so they don't know exactly where in the performance you are).
Once you're used to doing it, it looks really natural, just as though the hands have simply crossed in movement.
I won't dwell on this too much because trying to describe it in words will make it seem unnecessarily complicated - it is a very simple move and can be accomplished with little or no difficulty. Once that you've practiced a few times you'll be able to tell when your hand is shielded from view - again it really is easy but trying to describe that verbally would be even more difficult!
The dramatic withdrawal of your hands, pause, then rapid return of one hand symbolises subconsciously that you have finished "synchronising" and are now ready to begin, and the jabbing of the air above the arm is the visual corroboration that this is the case. Obviously you match the number of jabs with the number of real touches.
If the jabs are short and sharp it looks as though you are trying to "throw" the force of the jab at the persons arm, and some people may even believe that you are trying to make the air move to cause some sensation.
Another interesting idea is to make the shadow of your finger hit the persons arm as you jab (obviously in the same places that you really touched her), in this way you can make it absolutely clear to the witnesses exactly where you are trying to make the volunteer feel that you touched her. When she points to roughly the same spots to indicate where she felt the touches, the misdirection is complete and the effect becomes even more powerful (see notes).
It's important not to overdo it, but it must be sufficiently memorable to make the actual touching phase look insignificant - that is, it must be obvious that the real magic occurred when you jabbed the air - there must be no question of this in their minds.
And that really is the trick in its entirety. Very simple, very convincing, and very powerful if used in the right setting, and with the right context. Make sure that you practice it though so that you are comfortable using such blatant methods!
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