Justin Miller - THE 200675th ANNUAL MAGIFESTPRESENTS.pdf

 TH  THE20 0 6 75thANNUALMAGI AGI-FEST PRESENTS

STRO LLING HANDS  HANDS 

ALECTUREON ONTHEART OFRESTAURANT ANT AND ANDWALK-AROUND MAGIC BY  JUS  JUSTINMILLER

And So It Be Beg ins . . . So you just performed 5-10 min of magic for a restaurant manager/client. You shined, you stunned them with your 3 min performance of ambitious card, and wowed them with sponges, coins and borrowed objects of the like. “When can you start”? They say. Not missing a beat, you respond with “how about tonight”? Things are looking up for you. You now have a regularly paying gig every week! Good job, bravo, all that hard work of practicing, and honing your routines is finally paying off! So you go home, lookover your plethora of magic and decide what is best bes t for restaurants/walk-around settings..then a thought occurs to you.... YOU HAVE NEVER PERFORMED AT A RESTAURANT OR WALK-AROUND GIG..EVER!!! Frantically you think: ! How do I approach a table full of people talking to each other? ! How long do I stay at each table? ! Do I accept tips if offered? If they are not offered, do I solicit tips? ! Do I work JUST for tips, or do I charge the restaurant a fee? ! How long do I perform each night? Unfortunately yours is not an uncommon problem. I talk to many magicians who are  just starting out in restaurant magic and the above questions are the first on their list.  As someone who started out doing magic in restaurants when he was 16 years old, I have had a lot of experience (29 now) in the growing pains of perfecting pe rfecting not just my magic, but the atmosphere and clientele of restaurants. Professionally I have performed at over 11 different restaurants and fine dinning establishments in a period of 10 years. I currently have two weekly restaurants that I perform at, and each one is wildly different than the other! So I know what it takes to become a quality restaurant magician. These lecture notes are designed to help you make the transition into restaurant magic, fun, exciting, and educational! If you already have a restaurant gig..great! Hopefully these notes will provide you with some further insight that you were previously unaware of. I talk a lot about restaurants but all of this can be applied to strolling magic as well. Either way we will be delving into many topics that surround restaurant magicians.I understand that each magician has their own style and performance genre that they have honed and perfected. It is NOT my intention to change you or how you perform. My intention is to make you a BETTER performer for your  customers. Because lets face it, if we are not performing at our  peak level, then we are not only cheating ourselves but our audience as well. This world has seen enough bad magic *, don’t you want to leave an audience with that childlike feeling

of amazement and awe, instead of just “fooling” them. It is not our job as magicians to just “fool” someone, or “get one over” on them. No our job is to take their hand and lead them into this wonderful world where coins melt away in a whisp of smoke. Where cards seem to have a mind of their own and jump throughout the deck on a whim. And where their worldly belief system can be altered and suspended for a brief moment in time. That is what I want to instill in you...you are an actor playing the part of a magician! Let people get caught up in your role. It will be more enjoyable for you, and more amazing for them! I would like to also say that being a professional magician is NOT an easy thing to do. It takes a lot of hard work, dedication, practice, skill, practice, motivation, practice, oh yea, did I mention practice? A restaurant, while being a good place to hone your  routines and lay a “new idea” on someone to see how it flies, is not a place to FIND an act. One of the most dreadful things I did when I first got started was to think I could  just show whatever came to my mind (different effects I knew) and it would be a piece of cake..WOW WAS I WRONG! If you do not have a SOLID 5 to 10 min set already then you are NOT ready to do restaurant magic. Like I said, people see bad magic all the time..do not be part of that problem. Rise above the Criss Angel, David Blaine labels, and go out there and perform magic that gets people by the heart strings. You have an opportunity to create some wonderful memories for the world one table at a time! Captivate.... your audience!  Enchant... them to the mystery of magic!   Amaze... them with who you are not with what you can do!  *bad magic is not restricted to just the technical side, but also to timing and  misdirection.

Pocket Management... I cannot tell you how many times I have seen a magician go up to a table, introduce themselves (we will get into that) and fumble around their pockets for like 1 min ( a minute is like an eternity when you cannot find something) and then come out with one hand clenched down to their side, and the other hand holding a purse frame. Mmm, wonder what is going to happen next? Pocket management is one of the MOST important issues a magician faces in restaurant/walk-around magic. You have a window of 5-8 min to convince them they NEED to come back to this restaurant. If you take any longer  than 10 to 20 seconds to “get” something from your pockets, you are in the danger  zone my friend! What is the danger zone? It is the time frame in which you have to capture your audiences attention. If you have a lull from the time you introduce yourself and the time you actually start performing you can very easily loose your  audiences attention. YOU DO NOT want this to happen! So lets look at some examples of GOOD pocket management and BAD pocket management. Let’s say you have in your set two card effects, one coin effect, and one mentalism effect. For the cards you have a regular deck of cards for an ambitious card routine. A trick deck for invisible deck (what you do not do a non-gimmicked version? Shame, shame, shame,). A copper, silver ,brass set. And finally a peek wallet for your mentalism effect. And your attire (we will talk about that to) is made up of a dress pants, shirt and tie, and a vest. Here is a BAD example: ! You place the CSB set in your left pants pocket. ! You place the regular deck in your right pants pocket. With a sharpie marker. (only REAL men use sharpies) ! you place the invisible deck in your right vest pocket. ! and you place your peek wallet in your left vest pocket. Now here is the problem. You open with CSB. Its quick, visual, and defines you as the magician (all important qualities for an opener). But you are having a hard time “feeling” which coins are which. So you fumble for lets say 5 seconds. Ok, you got that done. Next you go onto a more lengthy and powerful effect like the invisible deck. Ok, no problem you know where that is. But when you are done you go right into your ambitious card routine with the REGULAR deck that is in your right pants pocket. So you place the invisible deck back into your vest pocket and immediately go into your right pants pocket to get the regular deck. Here is the problem. The moment you place your hand into your pants pocket and pull out ANOTHER deck it screams to your audience that either the last effect was accomplished using a “‘special deck of cards” or that the one you are pulling out is a “special deck of cards” either way you have totally ruined the magic for your  audience. Now, you are not a magician, but a person who is trying to “pull one over 

on them” So you get through with your ambitious routine, and now you want to leave them with something really special...you are going to read their thoughts. So you pull out your trusty peek wallet, have them think of a favorite thing, and dramatically reveal their dead dogs name. “ Thank you enjoy the fish” Happy you did not get the shakes while performing you “reset” your set which takes a little over 2 minutes. Now lets go over the mistakes made in this set. 1. NEVER put your coins loose in your pockets! You will loose valuable time trying  “find” the coins needed. Instead, get a nice coin purse to put your coins in. I carry them at  my site( and the lecture) www.closeupartist.com . A good purse will run you about $10  and they are great for carrying your coins in. In this example CSB is used. So place the three regular CSB coins in the purse, and the “gimmicked coin(s)” on top of the purse and place this all into your pocket. Now all you have to do is bring out the purse, have the coins examined with a fine toothed comb and as you place the regular S coin in your   pocket switch it for the gimmicked coin(s). Voila! No fuss, you have not wasted anytime, and it even cuts Julian fries with ease!  2. Next is the invisible deck. If you are going to do a number of card effects in your set  but you need a “special deck” for some of them, then you are going to need to learn how  to do a deck switch. It might sound intimidating but there are some really good and  deceptive deck switches that go past the toughest crowds. But in order to do this with ease we need to change some of the pockets around. Instead of placing the CSB with  purse in your pants pocket, place them in your right vest pocket and the invisible deck in your left pants pocket, the regular deck in your right pants pocket and the sharpie in your  dress shirt pocket. Now you are ready to do the deck switch. You say you would like to do one more card trick for them, but you need a marker. Two things happen all at once. You left hand which is holding the cased invisible deck goes into the left pocket and leaves the deck behind and  comes out of the pocket. At the same rime this is happening your right hand  goes into the right pants pocket and removes the regular deck and place it on the table. In a continual motion the right hand goes to the upper shirt pocket and removes the sharpie. This is know as the bigger  motion covering the smaller motion. The bigger motion of looking for the sharpie the smaller motion of switching the decks! I have done this for ROOMS of people and it has gone by every single one. Now you can do your ambitious routine without the “idea” In your audiences mind that “they must be them tv magic  cards”!  3. So now you give them the signed card as a souvenir of the magical time you have had together. And go into your last effect with your peek wallet. .

Do you see how by just changing some of the props around in your pockets makes your magic more enjoyable to watch! Pocket management is of UTMOST IMPORTANCE to a restaurant/strolling magician! Now lets look at what a set generally should consist of!

The Magic... Since you only have about 5 min at each table you must choose you magic very carefully. If you are just starting out then you will want to get your BEST magic that you know and write it on a piece of paper or record it on a tape recorder. If you are more experienced in magic then you will have a library of magic to choose your best from. Lets look at what a set generally should contain. I have broken it down to three categories. Opener, middle and closer . We will look at each one and Then I will include a number of effects that you can see why each one is in that corresponding category. ( I borrowed this out-line opener, middle, and closer from Kirk Charles book manual to restaurant magic..if you are serious about this business get the book!) 1. Opener : an opener is something that should be short, visually arresting, and impact full. It should be an effect where you give them just a taste of what is to come, a quick little gem. You opener sets the stage for the rest of your set. If you have a weak, confusing opener your likely to loose your audience immediately. 2. Middle: this is defined as an effect that comes after the opener. The middle should be something that is a bit more lengthy and with a climax that has their minds tumbling. 3. Closer: this is where you hit em hard! Right between the eyes! You closer should be visual, powerful, possibly endearing, and leaving them wanting to see more! The closer should also have as much audience participation involved as possible. Here are some effects that fit under those categories very well. Keep in mind I perform these effects EVERY week at my restaurants. So they have been tried and tested week after week. As you go through each one look for the qualities of opener, middle, and closer in each of them.

Opener’s...

ShockinglySweet Effect:  As you walk up to a table you ask if they would like to see something you have been working on. After they say yes you apologetically explain that it might not go so well but  lets give it a try. With your hand empty you ask to see a sugar packet. Then you hand  them a marker (remember MEN use sharpies) and have them sign their name on the sugar packet. This you say, is to reinforce to them that you will not switch packets or  anything sneaky like that. With their signature in full view you rip open the packet and  hand them the torn corner. You then tip over the packet and sugar begins to pour out of  the packet into your waiting right hand. “Here, please hold onto this as well. With their  other hand they take the sugar in their palm. Then it hits you! You have either missed a step or done something wrong. With disappointment on your face you sheepishly ask for  the sugar back. You pour the sugar back into the packet and then take back the torn corner and VISIBLY restore the sugar packet back to its original condition! “ I am sorry, I  guess we will move onto something else”!  Okay, a couple things to keep in mind:

1. Only ONE sugar packet is used! 2. there is NO switching sugar packets! 3. They REALLY do see their signature the whole time! 4. it is real sugar they are holding! I came up with this method of a torn and restored sugar packet while actually performing an “off the cuff” very crude version. It used two packets and a thumb tip. In the middle of it I thought to myself “self, you are making this way to hard. There has to be an easier way to pull this off”. And that is how this version came to be. I wanted to do a torn and restored sugar packet with only ONE packet, hands empty, signed packet. The funny thing is when I shared the idea and explanation to some top pro’s they immediately said that my version was better than another top guy’s that uses two packets and a thumb tip. Then I heard that Carl Andrews had a torn and restored sugar packet. I have not seen his nor do I know how it is done. If  there is any similarities between ours it is independent and not stolen. I credit all, including Carl, who has worked on this plot before me. Ok, so now that’s out of the way lets get down to brass tax. What you need:  A thumb tip, two sugar packets, a sharpie and a friendly attitude. The second packet is not in play in the routine but you do need to make up the “gimmick” before hand. Here’s how. Take a packet of sugar and tear off the upper  right corner. Place this corner aside for now. Now take half of the sugar and pour it into the thumb tip. Throw the rest of the packet away. Now place the torn corner 

right on the inside of the thumb tip. Place the thumb tip mouth up, in your right  jacket pocket. Next place the sharpie in your inner jacket pocket. The reason for the thumb tip in the right jacket pocket is because that is where they usually have a SMALLER pocket hidden inside. Just perfect for place a thumb tip WITHOUT it tipping over! Now you are ready to begin. It is important to have the right character for this to work. If  you present this like David Copperfield making the Statue Of liberty disappear then this will NOT look good. To quote David Williamson, you do not want to be “the Lance Burton of Denny’s”! You should be acting as if you really do not know if this is going to work because this is something that you have not really worked on that much. So in every step of the routine I act as if I MIGHT be making a mistake, but in hesitation and doubt I continue on until that last phase and then I realize I have blown it! If you really believe something, then your audience will believe it to. Which will make the ending so much more of a surprise. This is what Slydini discovered. People really believed he had coin in his hand.. BECAUSE HE  BELIEVED IT!  Before you walk up to a table place the thumb tip on your right thumb (sorry, I am right handed if you are left handed reverse everything I say in these notes). Ask if they would like to see something that you have been working on. Once they say yes ask to borrow a sugar packet out of the table caddy. As they are getting the sugar for you ( when I work a restaurant I will take about 40 to 50 sugar packets from the kitchen and place them In my briefcase so I have the same kind the tables have ) reach into your inner pocket a take out the sharpie. Ask them if they would sign their  name on the sugar packet. Make sure though, they sign it either near the bottom or  diagonal. This will ensure they do not sign any where near the top right hand corner.  After they have signed the packet place the sharpie back into your jacket and retake the sugar packet in your right fingers, thumb tip behind and fingers in front. With your right thumb and forefinger shake the packet as to get all the sugar at the bottom of the packet. Once this is done the right fingers and thumb place the packet behind the left fingers as the thumb tip pass over the top right hand corner it pushes down about a half an inch of the corner. In a continues motion the right thumb and fingers leave the sugar packet and the thumb tip behind in the left hand, fingers in front and left thumb holding onto the thumb tip behind the packet. As the right thumb is being extracted from the thumb tip, you will notice that the corner inside the thumb tip will slide along the thumb. As the corner clears the thumb tip make a ripping motion with your right thumb and fingers and then bring the corner into view. The illusion is perfect! Because of the top corner bent backwards and the piece you are holding onto it looks as if you just torn the corner off the sugar packet.  Ask them to hold out their hand and place this piece on to their palm. Now tilt your  left hand to the right and place you right hand underneath the packet. Sugar will begin (remember the sugar you placed in the thumb tip before ) to pour out of the thumb tip, but because the thumb tip is behind the sugar packet and your fingers, it

gives the perfect illusion of sugar coming out of the packet. Once the sugar is on your right palm ask someone to hold onto this as well. As you place the sugar onto their palm look very dissatisfied, as if you made a horrible mistake. Now act as if you would like to trash this whole experiment altogether. Ask for the sugar back and begin to pour it back into the thumb tip, but because of the thumb tip being behind the packet it looks like it is going directly into the opening of the packet. Shake the remaining sugar of your hand and reach for the torn corner. Apologize again and pick up the corner with your right thumb and forefinger. Two things happen here at once. The moment the corner touches the packet, the right thumb continues pushing the corner and the thumb into the thumb tip. As soon as your thumb is in the thumb tip, slide your thumb diagonally upwards and straighten out the bent corner and spread the fingers. It is important that while this is happening your  attitude is not one of “look, I made the sugar packet restore itself” but rather “ I am so sorry maybe I should keep working on this one”. I have a lot of favorite openers but this is on my top five. Do you see why this is a good opener? 5. Short: the entire routine takes about 1 min. 6. Visually Arresting: they SEE the sugar, they FEEL, the sugar in their own hands, and they hold onto a piece that is restored later on! 7. And it sets the stage for what is next. This one NEVER ceases to amaze an audience. I have to say it one of my BEST routines I do at a table. They just eat it up! Do not be intimidated by the simplicity of it. It packs some power!

KEYED-UP... Effect :  A card is selected and signed. You explain that most people believe that card tricks are just that.. tricks, but wishing to show how its done (yea right) you tell them that actually there is a secret, no, a KEY to every card effect. Saying this you spread the cards face down to reveal a big picture of a KEY and the word KEY on the back of one card in the deck. Needless to say as you turn it over it is found to be the selected signed card. Explaining that as a magician it is your job to make fantasy a reality, you proceed to pluck A REAL KEY OFF THE CARD AND INTO THEIR HANDS. Upon turning over the card the picture is missing and only the word KEY is found on the card. They of course keep the signed card. What you need: Go to your local magic shop and get a double backed card. Make a

picture of a key really big on one side of the card, then write the word KEY underneath that. Also, grab a matching deck (to the double-backer) and you will also need to write the word KEY on the back of a regular card that matches the double and the deck you are using. And find a real key that closely matches the picture you drew of a key. Place the card with the word KEY on the table. With the KEY to the right face-down. Next put the double-backer with picture of a key on top of that. And finally the whole deck on top of all this. Put the real key in your upper jacket pocket a marker in there as well along with the deck.  As you bring out the deck and marker also pick up the real key and slide it down the left sleeve (bend your elbows a little so as not to allow the key to come out of your  sleeve. Bring the deck out and say; ”I would like to dispel a myth for you tonight about card  tricks. There is a secret to card tricks..(look at someone) you thought it was real magic  didn’t you? No, no, there is a secret that is involved. Actually it is like a key, yes, there is a key to every card trick. Let me show you. Will you say stop please. Perfect. And would  you grace this card with your signature as well. Excellent. Remember I told you there was key  to every card trick, well this one is right here.”  As these words are being said you are going to swing cut the top portion of the deck into the left-hand. Hold a break between the two packets. Now either dribble force or riffle force the bottom card of  the upper packet (this will be the KEY card) when ever they say stop lift up at the break and turn the top packet face up. It will look like the place they stopped you at. While you are holding onto the deck have them sign the card on the face. When they are done, flip the packet back over to apparently bury the card in the middle of the deck. All you have done is forced them the KEY card to sign .

Next, spread the cards out onto the table face down and show that only one card has a KEY on it just as you had said. Ask them would it not be interesting if the card they signed and the KEY card actually matched? Separate the cards at this point. The KEY card packet should be on the left hand side and the other packet on the right. Pick up the left hand packet and do a double lift to show their signature on the card. What is nice about this is that you can immediately spread that card off because of  the d/b underneath and every card can be spread if you like. Your right hand picks up the single KEY card. Your left arm falls to its side and positions the real key in finger-palm. You are going to load the key under the card  All that is left is to have them hold out their hand and push down on the card with your fingers, at the same time to release the key as it comes falling into their hands. This is a HUGE SHOCKER to them. It is one thing to see a picture of something but when that picture becomes tangible it is a real magic moment for any person to witness. Once again short, visual and packs a punch. These are the qualities of a great opener! Well, lets take a break from the tricks and turn our attention to some common issues that arise when performing in restaurants.

Jealous Jimmy, Sour Sally, And Sam The fan... Justin, what the heck are you talking about? These are some personality types that come in the form of employees. Servers, bartenders, managers, and bussers. Each one is needed to run a successful establishment. But what happens when you place a strolling magician in the mix? Well, really its all up to you. Lets go over each personality trait, define each one, and set some ground rules. Jealous Jimmy : God bless this person. He works 30 hours a week serving tables and makes minimum wage. He garnishes his tips nightly and needs every penny to get him through to the finals. So he comes in one night looking for those tips when all of  a sudden he sees out of the corner of his eye you, finishing up at a table, and the customer giving you...A TIP! To him you are the enemy! Sour Sally : Sally thinks magic is stupid, and completely illogical and she is not happy that the manger has made this decision to hire on a magician every Friday night. She wants NOTHING to do with you! Sam The Fan: WOW! Magic! Sam thinks that seeing you do magic for tables as he is bussing is a wonderful treat. He is constantly trying to get a table next to you so he can see what is going to happen next! Please keep in mind that these personality traits are NOT restricted to just the above. Sam the fan could be a manager, server or vice versa. Same with Sally and Jimmy.  As you can see each one poses a real problem to you work. So what do you? Well lets go over each one. From the time I approach a table, to the time I leave I NEVER, I REPEAT, I NEVER SOLICIT TIPS! You should have made a deal with the manager on how you will get paid. The going rate for restaurant magicians right now is between $100-$175 for three hours of work. If you can get a gift certificate with that either  included or extra...get it! DO NOT sell your self short. If you do you are hurting the market for the other guys in your area. So a set pay should be established by you and the restaurant.

The reason you do this is because you do not want to work for tips. I did it one time, and I will NEVER do it again! I accept tips but never solicit them. What I have found that works nicely, is to incorporate a money trick into your set. I do this one last. I borrow a small bill ($5) do some magic with it and a $1 bill I brought along. Magic is done, I give the bill back to them and 80% of the time they will give me that bill or  something higher. But never ask for tips or say you work for tips. But Jimmy still sees you get the money! When the customers leave ask Jimmy how they tipped him. If he says “‘horrible”’‘ then give him half of the $5. (He will most likely say No, that’s yours) INSIST that he takes it, in fact I push it into his server belt. Let him know that YOU would not even be here if it was not for him. MAKE him the star, and Jealous Jimmy turns into Joyful Jimmy! If he says they tipped

me really good. Say “wonderful glad to hear it” this shows that you care if he makes money. Either way he will promote you more to the customers. Ok, so Jimmy is satisfied.  Now onto sour Sally. A lot of people find magic hokie and boring. I believe it is because they have not seen any good magic in their lifetime. So with Sally I will (on a slow night, or break) start talking with her just about life. I try and build a bridge of friendship and commonness. I do not show her something right away. But usually when she has warmed up to me, see the reactions from the crowds, and that everyone BUT her is having fun, she will ask to see a trick. And then I have her. Do your most visual and patter full (a new word..cool) effect for her. Make her  want to see more. Sally will also begin to promote you to the customers then as well. Sam has NO problem with you at all. In fact Sam is your 1 fan! But he keeps following you from table to table. At first it is endearing and kind of special..but after the second hour it starts to get a little tiresome. Because now he goes behind you, the side of you and if he could sit on your head..he would. What do you do? Well, I will usually (at a break, remember you are not there to entertain the employees) get the bussers together and do like 2 min for them. A private show so to speak. This acknowledges them and shows that you care about them as well. They will begin (hopefully) to see that you are there to work just like them and will be looking forward to that “special” show you give them every week. These are solutions I have found to work best..hopefully you will to! Now on with the main course..the Middle!

Middle Effects... Chasing Ackerman’sBackx3 When I used to live in Las Vegas one of the highlights was a befriending by Allan  Ackerman. He took me under his wing at times and showed me the town. Along with some KILLER card magic, Allan is one of the nicest guys a person could meet.  After seeing him perform an effect he calls small packet all backs I was inspired to come up with this effect. In his original effect three kings are shown and a card is selected on by  one the kings go face less, then the cards turn into the spectators card, and finally they  turn into three aces. While I love the idea behind it I always thought it was missing  something. What I have attempted to do here is not to change the original, but to add  some more magical moments to the effect. I think I have done just that. I hope you agree. Effect: You introduce four Jacks and explain that these jacks will help out in a little experiment. Three cards are selected and signed. They are placed back deep within the deck. You pick up the jacks and explain that these jacks have an identity problem. They never can tell who they are. As you say this you show that ALL of the  jacks are seen to lose their faces. Next the four faceless cards are shown and VISUALLY AND INSTANTANEOUSLY THERE ARE ONLY THREE CARDS Not only have they lost their faces, but they have turned into the three selected cards. As you tun each card over ONLY three cards remain and each one is a signed card. THE JACKS HAVE COMPLETELY WENT KOOKOO! What you will need: go to your local magic store and tell them to carry Strolling

hands by Justin Mil.. Oops, wrong place. Um, just a double backed card red or blue. Fix a piece of double-stick tape to the back of one side of this card. The tape should be placed right in the middle of the card and should be no bigger than a quarter of  an inch. Place this card tape-side up on top of a regular deck of blue backed cards. That is all you need to do. Explain you need some help in this next experiment. Go through the deck and strip out the four jacks (any four of a kind in face cards will do..I just like jacks better). Next have three different people take a card each. Have each one signed. The deck should now be in a left hand dealing grip position. Pick up the jacks with the right hand and place them on top of the deck face-up. You are going to apparently place each selected card into different parts of the deck. But really you are going to place them

5 , 6 , and 7 form the top face down. In other words directly under the jacks. To do this get a pinky break under the four jacks and lift them up slightly to perform Marlo’s tilt move. As you place the cards in the “deck” they are really going into the positions stated above.  After the last card is pushed in flush, put a upward bend in it to secure a break under  it. Immediately lift up the next card (double backed card) and switch breaks, so now you are holding a break under the top eight cards. Four jacks face up on top, three selected cards face down, and the d/b tape card below it all. Spread the jacks to the right using the right thumb to show that you did not place the selected cards between the jacks. This is disarming for magicians because many will think that that is were you put them, and it will sell the idea they are “lost in the deck” somewhere. Ok, when you spread the jacks over to the right, in-jog the jack closest to the deck. This will be the fourth jack from the face of the jack packet. Square the cards against the left thumb and turn them over face down. Due to the in-jogged jack it is easy to lift all the cards ABOVE the in-jogged jack. Take the four cards away from the deck. Place the deck down on the table. Say; “these  jacks forget who they are sometimes see, lost all sense of identity”  As this is said turn over the four cards so that they see another back. Perform a flushstration count and cleanly show the last card single (this is a nice display because the double backed card is shown very cleanly, thereby giving the perfect illusion of four double backed cards. Place the last card counted (d/b) on top of the other three with the tape side down. Apply a little pressure in the center to adhere the d/b card to the card underneath it (a selection). Elmsely count to show four cards. Then snap your fingers and bring the faces of the cards towards you. Spread the bottom two in your right hand and hold the single on in your left. It looks like a jack has disappeared. This is setting them up for the kill. Let the double card in your right hand snap of your  fingers and thumb to show its singularity, then reveal the other two selections as well. The Jacks have not just disappeared in the spectators mind but have VISUALLY CHANGED INTO THE SELECTED CARDS! I am telling you, try this out I ALWAYS get an awesome response with it. Ok, Now this is more of a lengthy effect, but notice it STILL has a powerful ending. In all of your magic make sure each piece whether small or big, hits them hard! This is why it is in the middle. A story, eye candy, and magical. A good middle consist of these qualities.

Middle Effects...

Flushed Again Effect:  A card is selected from a deck of cards and then replaced fairly into the middle of the pack. You explain that you have four cards in the deck that will help you determine what the selected card is. As you remove the four cards they are seen to be completely blank. You tell the spectator that each card will tell you something different about the selected card. As you rub each card face-down, you are able to correctly determine what their card was. Finally the last card actually TURNS INTO THEIR CARD! Explaining that you would like to show them how you did the effect, you show that now ALL FOUR CARDS are the selected card. A fifth card is shown to be in play. Upon showing all the cards again, they turn into a royal flush! I love this effect! I love everything about it. The mystery, surprise and big finish at the end. A lot of magic and mentalism crammed into one little packet of cards. Go Get It: once again bug your local magic shop for a blank face card. You will also need a regular deck that matches the b/f card and any royal flush lets use diamonds.  And double-stick tape.

Turn the b/f (blank face from now on) card face down and put a piece of double stick tape to the back of it. (Once again, a quarter of an inch is all you want) Put your royal flush in this order starting from face. 10/D, J/D, Q/D K/D, and finally the A/D. With cards face-up turn the b/f card face-up and stick it to the face of the 10/D. Ok so here is the order of the cards from face to back. B/f card, 10/D, J/D, Q/D, K/D, and the A/D. Turn the whole packet over face down and place it on top of the face down deck. Next, you are going to force the A/D on someone without disturbing the top stock set-up. I use either a dribble force, or a riffle force. Either will do nicely. Once the A/D is in their hands separate the pack at that point. Have them replace it on top of the same packet they took it from. Then dribble the remainder of the cards on top and square up fairly. Tell them that you have four cards in the deck that will help you determine what their card is. Fan through the deck faces toward you. Once you get to the set-up in the middle of the pack, up-jog the b/f-10/D, J, Q, K/D. Separate the pack so the A/D is now on top of the deck. Strip out the “four” cards and make sure they are square so only the blank face is showing and casually show it as you place them face down on the table in a spread. Not too neat, it should look like you just took them out and threw them on the table. This will get a shock out of your  audience. Why? Well, first, they have never seen blank cards before. And two, they have never seen a deck WITH blank cards! Which is exactly where you want them to be. Dumfounded.

Next, pick up the four cards and go to square them against the deck. Secretly, while the right hand is picking the cards up, your left hand gets a break on the top card the  A/D. Add the A/D to the packet as you come away from the deck. Place the deck on the table. Next do a displacement of the bottom two cards (just reverse their position) this will place the b/f double card on the bottom of the packet Figures 5-6 shows the displacement. Flushstration count to show four blank cards while saying; “each card  will tell me something different about your card. This will tell me the color, this one the suit, this one if it’s high or low, and this one the value .” The last card will be your “Triple card” place it on top of the others in your left hand fairly. Slide the bottom card out without reversing its position. Do the next card the same way. Each time saying something different about their card. Finally, when you get to the last “card” Turn the triple face-up showing the b/f card. Stare at it for a second or two and call out the name of the card. This is completely surprising to your audience. As the shock hits their face bring the triple card over the packet for just a second and drop the bottom two cards on top. Say; “really, that’s what I thought ” turn your right hand (with the single card) toward the audience. It will look to them that the last blank card TURNED into their selected card. As they are looking at the card..(believe me they will want to) separate the top two cards b/f-10/D by applying just a small amount of pressure at the bottom right-hand corner. Place the top card second from the top and square up. You now have set up the packet for the last phase. The taped card should bo on top now. Take the A/D back and place it face up on top of the packet. Tell them you are going to explain how this was done. While saying this apply pressure to the face of the A/D so that it will adhere to the taped b/f card. With your  left-hand slide off the A/D-b/f card, and ascanio spread the remainder cards. This will keep the last two cards together. Say; “ The way I do this effect is that I have an extra card I use.” While this is said, use your left thumb to slide over the top card revealing another face-down card. Tell them that the reason you use five cards instead of four  is because five is what is needed to win with a royal flush! Slowly, one by one turn over the face down cards to reveal a royal flush. Take your bow!  As you can see once again this effect has all the workings of a great Middle trick. Lengthy, story, and magical. And now an intermission...

Taking a Break... Whew, so you have worked about 15 tables in an hour and a half. You must be tired? Time to take a break. If you are going to work 3 hours at a restaurant then after the first hour you are going to need to take a break. Strolling Magic is not an easy job. (Beats minimum wage though) So make sure you get LOTS of water in your body in between you tables. I usually do about 6 tables then reset, get some water and go back at it. Do not over exert yourself. Now sometimes you will find your self in the middle of a rush and it will be nearly impossible to take a break. Just make sure you have had all your fluids before the rush. I can tell when we are about to hit a rush. So I prepare myself before I go out there. None the less a break should only last you no longer than 10 minutes. Remember the restaurant is paying you good money to perform. Make sure you are looking busy EVEN on your break. Reset, stroll around the establishment to get the “lay of the land” but whatever you do look busy. The last thing you want a manager to see is you twiddling your thumbs and not doing anything at all! I cannot stress this enough it is seriously your job on the line!  And if you decide to take on this career then the last thing you want is to go looking for another gig..remember how hard this one was to get? Ok, last but not least the moment you all have been waiting for....The Closer!

The Closer...

Coin-ivorous Effect: You bring out a coin purse and show that you have three half dollars inside. The spectator examines the purse. You then bring out a china coin..but not any china coin no, no, this is the dangerous COIN-ivorous coin. That’s right a coin that EATS other coins. But before the daily carnage starts our china coin lures each victim to himself. Each coin is seen to disappear from your hand and one by one to join the china coin under a playing card. The last coin is seen to visually land underneath the spectators hand. Now the fun part. One by one each coin is seen to be eaten by the china coin until nothing is left but the china coin. But do not worry because our half-heros are found. One is underneath the card and is seen sitting on the purse, one under the purse, and the third one is actually INSIDE THE PURSE THAT WAS SITTING THERE THE ENTIRE TIME! What you will need: . Two leather coin purses that match and five silver half dollars, and

done Chinese coin with a hole in it. Place three of the halves inside one purse, close it. Place this purse and a fourth half  inside you right jacket pocket. Take the last half and place it inside the other purse, close it. And put this purse along with the china coin in your left trouser pocket ( lay the china coin on top of the purse in your left pocket, this will make the purse switch easier). Make sure you have done a few card effects before you bring this out. I usually have a card signed for an ambitious routine and then go into this after wards. Anyways you should have a card on the table in front of you. Say; “ok, I think it is ok to show you this now. I was a little weary at first but I think you guys can handle it”.  As this is being said reach into your right jacket pocket and remove the purse at the same time classic palm the other half in your right hand. Say; “do you know what these are? They look like half-dollars I know. But really they are victims of a very cruel idea”. While this is said open the purse and dump the coins into your left hand while keeping the classic palmed coin concealed from your audience. Invite someone to make sure there is nothing else in the purse. When they return the purse back to you grab it with your left hand and place it and your hand into your left trouser pocket. When in your pocket leave the purse and grab the other purse with the china coin on top. It should look like you have reached into your pocket to retrieve the china coin. While this is happening say; “an idea that has something to do with this horrible creature..the COIN-ivorous coin. That’s right a coin that eats other coins!” Say; “ But 

before he starts to divulge into his daily ritual he like to lure them first into his cave. He is very sick! ” As this is said release the coin in your right hand from classic palm to fingertip rest. Place the china coin on the table and load the fingertip coin underneath the card, place the card and the loaded coin over the china coin. First vanish and Load: Pick up one of the halves with the right hand and retention vanish it into the left hand. But instead of keeping it in a finger palm position in your  right hand like a normal retention vanish, you are going to sleeve it into the right sleeve. (See Silver Dream for sleeving ) Say; “with just a call the first one is whisked away to the dark cave of the china coin”. Show your hands empty and with the left hand lift up the card slowly to reveal the first coin. While your left hand is reveling the coin, your right arm relaxes and allows the sleeved coin to fall out into a finger palm position. Next load this coin under the card as before and place it back over the china coin and the first coin. Second vanish and load : Ok, this one is a little bit different. Pick up the last two coins one in each hand, at the finger tips. Say; “that leaves just two”. Pick a hand right  or left?” No matter what hand they pick, in a casual manner of gesturing, sleeve the coin at the right fingertip. Let say they say; “left”. Wave the left hand coin over the right hand (which should still be acting like it has a coin) and show the right hand coin gone. If they say right blow on your right fingers and show the coin gone. Put the left hand coin on the table, and with the left hand pick up the card to show the second coin has arrived. Now ask the spectator to place their hand over the coins. Load the coin that is in your sleeve, under the card as the other two were loaded. But this time instead of leaving the card there remove the card while loading the last coin under their hand. This is Paul Harris’s Idea and can be found in Close-Up  Astonishment. Pick up the last coin and use the card to do Williamson’s striking vanish. Ask them to lift up their hand to show the last coin has arrived.  At this point say; “I think there are to many things for you to watch right now. Lets get rid  of the card and the purse, and keep your eyes only on the three halves and china coin.”   As this is being said, load the coin you now have in your right hand fingers UNDERNEATH the purse and set the purse off to the side. Next you are going to pick up the three halves and do a modified gravity pitch. Pick up the three halves at the fingertips of the right hand so they are spread in a fan. Next, open up your left hand and start to throw the three coins into the waiting left hand. Only, hold back the lowermost coin in a finger palm position as you throw only two coins into the left hand. All they see is silver flying around. Once the coins have hit the left hand close it over them. Now pick up the card with the right hand and load the finger palmed coin under it, place this on top of the purse. Position check: two halves in your left fist closed (they think there is three), one half under the purse, and one half underneath the card which is laying on top of the purse, one half in the purse, and the china coin on the table.  Ask the spectator to pick up the china coin and place it into your left fist. Make a MUNCH, MUNCH, sound and open up your hand to show that one coin. Has been

eaten. Next you are going to do a modified clink pass with the two coins. Here’s how. Pick up one of the halves with your right fingers and perform a retention vanish in the left hand. Close your hand as if to hold onto the coin. Go and pick up the second coin with the right first finger and thumb. Slowly open up your left hand partially to get ready to catch the second coin. The right finger and thumb allows the coin to fall into the waiting left hand. But on its way down it will click against the finger palmed coin in the right hand creating the perfect illusion of two coins in the left hand. Ask them to again place the china coin into your left fist. Make the MUNCH, MUNCH, sound again and open up the hand to show another coin has been horribly eaten. The last coin is retention vanished in the left hand (be careful that you do not allow the two coins in your right hand to talk) once again ask them to place the china coin into your left hand. MUNCH, MUNCH, show the last coin gone as well. Say; “ but do not be to sorrowful for our half-heroes, they are smarter than we think. They arranged for  a get away before they got eaten. ” slowly with your empty left-hand lift up the card to show a coin, lift up the purse to show the second coin, and finally say; “and our last  hero is found safely at home.” Shake the purse to hear the coin inside. Dump it out onto the table. Pick up all the coins and add the finger palmed coins with the others to clean up and place them in your pocket to end. Notice the EXTRA audience interaction in this one. They feel like hey have become part of the plot. It hits them because they all know what a cannibal is. And visually it is arresting to see this Chinese coin eat the other coins. I have to tell you, when the three silver halves end up on, under and in the coin purse they just flip! This is what a closer should look like, if possible multiple climaxes and a strong ending!

 The Closer... Seal-A-Feign When I first read David Williamson’s, Williamson’s Wonders I was hooked. David is one of the most unique human beings to ever have graced this earth (maybe graced is not  the right word for David...more like stumbled ). I remember that I was around the age of  maybe 15-16 when I first heard of David. His style and charm was something I knew I  wanted to have. And if you have ever seen him demonstrate his award winning magic  you know you are in the presence of someone very special. David had an effect called Cello-Feign in the book. A dime would vanish from the magicians hand only to reappear underneath the cellophane of a deck of cards. This would be repeated and each time it would appear In a more magical way than before. What I have done is to make this more visual and stunning by pulling down the cellophane wrap so that a borrowed signed coin is seen to visually penetrate the cellophane.. and more!  EFFECT: A quarter is borrowed and signed by a spectator. You introduce a pack of 

cards with the cellophane pulled halfway down. You tell the spectator to watch very closely, as something strange is about to take place. You place the signed quarter on the tips of your finger and strike the cellophane onto the coin. Instantaneously the quarter is seen to be INSIDE the cellophane! Not worry though, you visually melt the signed quarter through the cellophane...(which at this point can be IMMEDIATELY examined). Keeping the cards in one hand and the signed coin in the other, the coin travels at the speed of light and is seen to be inside the cellophane again. Slowly the cellophane is pushed closed and the coin is slid out from underneath on to the table. This time the signed coin is placed into your hand and disappears completely. You ask the spectators where they think it went, they will say the cellophane of  course. But not only is it inside the cellophane again, but this time the deck of cards is found to be COMPLETELY SEALED WITH THE COIN TRAPPED INSIDE. In fact the only way to retrieve the coin is to break open the seal and dump it out. I first showed this to Brian Geer close to 12 years ago without the final phase of the sealed cards. He loved it so much that he published it in his book Packed with Power  and currently his new DVD Heavy Hitters. I now bring to you in its entirety. What you will need: Figure 1 shows exactly what you will need. A deck of cards that

HAVE NOT BEEN OPENED, A second slip of cellophane off of another box, and a quarter. Ok, here comes the hard part. You have to slip the second cellophane onto the card

case that is sealed. It will take some practice and A LOT of patience the first time you try this. But do not worry once you get it will become like second nature. You might have to cut the bottom corners of the sealed case if the corners are protruding. In either case slip it on and pull it all the way up so it pushes flush with case. The illusion that it is a sealed case is perfect to say the least. This is what you will be showing at the end. Take the quarter and sign your signature on BOTH sides the exact same way. This is going to act as a decoy throughout the entire routine. It really sells the idea that it is the same signed quarter that they signed. Place this quarter underneath the second cellophane. Place the deck along with a marker in your pocket and you are ready to begin! Start off by saying; “I would like to show you something with a quarter, does anybody have a quarter?” As they are looking for a quarter take out the deck and slide the cellophane down so it is half-way off the case. Make sure you HOLD BACK the decoy coin so it is not prematurely seen by your audience. Once you have done this it should look like a deck of cards with the cellophane pulled down. Next place the case down on a soft surface. And take out your marker and ask them to sign their initials on one side of the coin. After they have done this take the marker  back and sign the other side of the coin THE SAME WAY YOU SIGNED THE DECOY. Place the signed coin on the tips of your left hand. Now you are going to do David Williamson’s striking vanish with the card case. If you were at the lecture I went over  this in-depth if not you can find it on his new DVD Magic Farm which I HIGHLY RECOMMEND. He teaches it in-depth on this DVD for the first time. After the striking vanish you will have the decoy coin in the cellophane and the real signed coin underneath the case against the box. Now you are going to apparently melt the coin through the bottom of the cellophane. To accomplish this, shake the coin around in the cellophane a few times to “sell” the idea its really in there. Next, two things happen at once. Your right hand comes up under the cellophane while your left hand tilts back towards you. Just enough so the decoy coin slides back under the box and out of view. The right hand with the signed coin comes under and takes the place of decoy coin. Done with timing and practice it looks like you simply brought your hand under the coin in the cellopheign to hold it steady. What of course has taken place is that you have switched the two coins. Now slowly slide the cellopheign off of the coin. THIS IS IMPORTANT, DO NOT MOVE THE COIN FROM THE cellophane BUT RATHER THE cellophane FROM THE COIN. The illusion it gives of the coin melting through the plastic is perfect. Let it fall to the table and if they want they can examine it as this is the real signed coin. This next phase is very disarming to your audience, because they apparently see the sign coin in your right hand and it visually disappears from your fingertips, only to

land with a THUNK in the cellophane that is a foot away. Pick up the coin with your  right hand and the case with the cellopheign sticking out I your left hand. As you say watch the coin you are going to open sleeve the coin in your right sleeve. I will not go into sleeving here. If you would like a detailed explanation of sleeving a coin look at Silver Dream found else where in these notes. Once the coin is sleeved, immediately bring your left hand down so that gravity will make the coin in the cellophane come into view. It will look like the coin disintegrated from your right hand and appeared in the cellophane! A very magical moment indeed. Now with your empty right hand come over to the cellophane and close it over the case. Once this is done say; “oops, forgot about the coin”  While these words are being uttered relax your right arm so it falls to your side. This will allow the coin that you sleeved to fall into the waiting right hand in finger tip position. Come over to the case and act like you dump the coin out into your right hand. What really happens is that you retain the coin in the case and allow th finger  tip coin to come into view. It should simply look as if you forgot about the coin and dumped it out into your right hand. This is the best part. Place the deck down on the table and show the coin at your finger tips. Say I will do this with my sleeves pulled up. As you say this stretch your arms out so that your  sleeves do go up somewhat. But under this cover you sleeve the coin in your right hand. The misdirection is perfect at this moment. All you have to do now is act as if  the coin is still there and slowly and very fairly show it is gone.  As k if they know where it went. They will say the card box. Turn over the case and show the coin inside. Shake the box vigorously back and forth, the thumb position is important, it should cover the slit of the cellophane near the top of the box. This gives a perfect illusion of the coin inside a sealed box. Then do a double take and say; “not only has it arrived in the case but as you can see....this is a sealed deck of  cards, the only way to get this coin out is to open the seal” as this is said let your right arm fall down to its side and allow the coin that is sleeved to fall into your right hand and secretly classic palm the coin. Open the seal and slowly slide the coin out onto the palm of your left hand. Put the deck on the table and pick up the coin with the right hand. Two things happen at once here. As your right fingers pick up the decoy coin on the left hand IMMEDIATELY SLEEVE THE COIN into the right sleeve. At the same time this is happening turn the palm of your right hand face up to show the signed coin. Hand back the coin to the spectator and take your bow. I love this effect and have been doing it for years. Since this publication and my 2005 Lecture notes, Daniel Garcia has recently put out a version with a borrowed cigarette box and a quarter. I wanted to mention him for credit sake.

I know I left a lot of things out, but how much fun for you would it be if I told you ALL the things you would encounter performing at restaurants. Half the fun is you experiencing it yourself! Once you are in the trenches for a while you will begin to understand how to handle situations. The fact is that we are humans, and as humans we learn best by trial and error. Are you going to make some mistakes? Yes! Are you going to mess up and spend to much time at a table when the manager has been trying to get these people out of the restaurant so he can seat others who have been waiting for over a half hour. Yes! But learn from these things, it will help you grow as a performer and hey, who knows maybe you will have your own lecture to talk about the things you should and should not do when you have Strolling Hands!  Above all, have fun. Magic is a great way to meet new and exciting people. And today in this world people need something to take their mind off of a stressful job, misbehaving kids, and many other problems they just don’t like to talk about. How amazing is it that we get to be the ones to take them on a journey where anything is possible. I know of no other job where you get to amaze, entertain, possibly build friendships, all in a matter of 5-10 min. Best wishes, Justin Miller