Routines

HUGH MILLER,

PART ONE

CLUB AND CABARET ROUTINES.

FÍVE STAR PREDICTION.

In Its marketed form, this effect was performed with flit aid of a flipover UfeJIet. For a lime, AI fío ran used the wallet idea but uYunluaíly üet I led on the presentation that follows. It is direct and startling and owes its impact to a carefully constructed presentation.

Tlit performer removes Ein envelope and j pat-k uT cards from his pocket. "In here." he says, holding fl\e en ve Jope ai oft between the right forefinger and thumb, "Es a playing card. I removed it from another pack an hour ago and seated it within the envelope. I am committed, tite card in this envelope is my pre diet i on." He places the envelope aside, allowing it to remain prominently in view.

"To test the accuracy - or failure - of my prediction, i will need I he help of someone from the audience . , . , " He moves Jiis head slowly, slops suddenly rmd slabs his linger in I he direction of a likely-looking assistant. "You, sir; will you help me?" As he is saying this, ¡he performer moves a few steps in the direction of his prospective helper. Now, this is a Koran 'fifty-11 fly* tactic; fifty percent of the persuasion comes from file direct, firm request for assistance. Tite clincher comes when the assistant's mind is made up for him, The performer moves in dose. confident, holding oui a hand as if to help the assistant to his feet, Simple as it is, tliis technique tnkescare of a good deal of potential slowing-up in t.he routine The request is made, the response is immediate, the pace is sustained. Also, the assistant finds himselT out on the floor before he knows what has happened; the slightly awe-inspiring nature of his situation is fairly certain In ensure that he won't start 'acting-up'. That sort of behaviour usually arises from a) least some premeditation. Al put much slrcss on this fifty-fifty feature. The performer's judgment would normally he good enough to ensure a 'safe* assistant, at least'fifty percent certain. The other llfty percent is catcred-for by the authority of the performer's approach-Certainty will always predominate, and a tricky assistant will usually change his mind in the face of an assured approach.

The assistant is taken to the centre of the floor. In the few seconds this lakes, lie is assured, quietly, that nothing will happen to embarrass him. He is guided inlo position on the performer's left; the table, with the envelope displayed upon it, is to ilit' performer's riglii.

The performer removes the cards from their ease, slipping (he case into his right coat pocket. "1 want you to lake these cards" he says to rhe assistant, "and I want you to deal them, one a! a time, on to my hand, face-up." While he says this, rhe performer casually overhand-shuffles I he pack. The shuffle is slow ami deliberate, and is in fact nothing more than a series or cuts. J Jo undercuts the lower half and drops rliem 011 flic top. over and tiver. On completion of his instructions, he Imnds the pack 10 the assistant, simultaneously holding out his right palm to receive Mil- cards as they are dealt. The pack is handed to the helper face-upwards, so that lie has nothing aL all to do hut start dealing.

The assistant starts dealing cards, and after about five cards have been placed on the performer's palm, he says, "I want you to stop at any point you wish." and as he says this, lie looks directly al the assistant. Thai wilt ensure tjiat he will not goon dealing for too long, he is aware of some urgency.

When the helper stops dealing, the performer squares the rank he hnlds, and says, "You stopped at this point. Do you agree that your decision was your own, thai you stopped where you wanted? You are sure1.' Good." The performer now steps closer to the table. "You stopped at this point..." he holds aloft the card stopped-at, The remaining cards ani dropped on the pack held by the assistant. The performer stands isolated, holding one card face outward, towards the audience. "What is ihe name of the card you selected, sir'.'4' This is for emphasis: the card is seen, it is also named. 11. is also asserted fand accepted) that the assistant 'stopped aL a card', the idea is planted that he consciously chose one card out of fifty-two. By reply with the name of the card, the assistant is confirming that this was the card he 'selected'.

When the card is named, tile performer places it luce-outward in his breast-pocket, so that the full face can be seen. Only the lower border is retained by the edge of the pocket. Still lacing the audience, die performer now picks up the envelope from the table and tears it open, holding the opened end towards the assistant.

"Would you remove the card from inside the envelope sir, and hand it to me." The assistant does as he is asked. The performer looks at the card for a mental count or three, then holds it aloft, simultaneously calling its name aloud. It is, of course, the same as the curd displayed on his pocket.

In the ensuing applause, the cards and envelope are taken from the assistant and dropped in the pocket, along with the 'prediction' card. The card from the top pocket is given to the helper as a souvenir and he is accompanied to the edge of the floor. The performer is now clean and ready to perform his next effect at once.

PREPARATION:

The envelope is, of course, gimmicked. It is an ordinary business envelope, preferably made from,heavy-duty paper. To prepare it, you must fit an insert: this is done alter you have decided upon your force cards. There are Tour possible cards on which the assistant may stop; it is recommended that these should all be spot cards. A good quartet would be: Six of Hearts*, Four of Clubs; Eight of Diamonds: Five of Spades. First of ait, you require to have these four values represented by two cards two double faced cards. If you do not have any ready-printed double facers that will suit, simply stick the appropriate cards back-to-back. The added thickness will make no difference to the effect. As an aid to memory, it will help if the cards ..ire glued thus: Four backed by Five; Six backed by Eight,

Now to the envelope. The insert is in fact the t'ront panel eul from an identical envelope. The edge should be carefully trimmed until the sheet fits comfortably within the whole envelope. When thi partition is smoothly housed within I he envelope, place one of the double-faced cards (the Four/Five combination) to llie rear of the flap, so that when the envelope lies with its address side uppermost, the four will be on top. Now you must stick the partition in place, but this has to be done in a precise fashion to enable the gimmick to work. With the open side of the envelope facing you, apply a light line of rubber solution behind rhe insert, along the left narrow edge of the insert: now apply a similar coat along the right narrow edge, but this time, apply il to the uppermost surface of the insert. Finally, apply the solution to I fie underside of the top edge of the inserl iadjacent to the crease of the envelope flap). The position is now this (1 the envelope were sealed, access to the card within could be accomplished by tearing off the right end of (he envelope (with the envelope held address side downwards). Tearing off lite other end. or the flap, would reveal the other compartment. Into this compartment, you place the Second double-faced card, with the 'Six' side towards the insert Seal the envelope and il is ready. Now a brief word about opening (he envelope for the climax of (he effect. Always hold

St with I he Hap side towards yourself. If you want the card in the "seaied-off comportment (the Four/Five combination), Lear off the right side of the envelope. If you want to have the card come out with the Four uppermost, offer die envelope to the assistant will) the address side uppermost If ^ou witnl the Five just hand him ihe envelope with the flap side uppermost. To get the other card, and to save any mental confusion, tear aloi^i the top of the flap (see illustration. FIG. I.) Turn the envelope the appropriate side up before tearing it, in either case.

Now for the pack. This was used by Al Koran for many years and he was never challenged, probably because of its dever construction, lite pack consists, in fact, of the four force curds, repeated in sequence - 4,5,6,8 six times in all, with an indifferent card inserted between each force card. So, the order from the top will be 4, indifferent.. 5, ¡¡¡different, 6. indifferent. 8, indifferent, 4, indifferent, 5, Indifferent and so oil It is iJie inclusion of the indifferent cards which makes the whole thing work so well. Nobody notices any duplication, because seven cards will always fall be tore a card is duplicated and people will seldom deal beyond ten cards anyway, In theory, it has often been thought better to use tin; pack in a face-down position before Parting. AI disagreed- He placed an indifferent card on the bottom and allowed I tic sequence to run out with the pack held face up while dealing proceeded, That way it by any chance the sequence had gone wrong, lie could actually ^ee that it had. He was a prolessiunal and consequently took no more chances than necessary,

Thai is all (he preparation needed. We will now consider the important points of presentation not already covered.

PRESENTATION:

Your overhand shuffling is. as already stilted, just a slow, deliberate series of cues. The fact I hat the pack is short of a full fifty-two is of no consequence and will probably assist in the handling. The sequence of force cards is not upset by the cut-shuffle. When the assistant starts to deal, simply watch for a force card, then observe that one falls as every other card, ll is nol essential to watch this, but it does in fact give you an idea nl where he is going to atop, J'his is something you will appreciate when you come to perform the effect.

When he stops dealing, look at the last card dealt, [fit is a force card, good jnJ well; simply isolate it and dump (he others back on the pack. If, however, it is not a force card, ignore the pile on your hand and point at the card on top of the face-up pack, calling it the card slupped-ai This seems legitimate enough, and of course, it will be a force card.

Having put all the cards bar the force card back in the assistant's hands, you are ready to proceed to the llnale. Pick up the envelope, remembering that Four and Six face out. Five and Eight face inward. Open the top or end as described and squeeze tin sides, so that the appropriate side of the chosen card is visible to the assistant. As soon as he lias got the card clear of Lhe envelope (he will do this slowly, for he is hampered by the cards he holds,) take it from him, taking care not to 'flash' the face on the reverse side. To ensure this, take the card on a horizontal plane with the right hand, then cup the left hand under (he card; follow through by tilting the hand up. letting the right hand drop away. Count to three, then grasp the top edge of the card from the left hand, turning it over end-for-end to display it,

Giving (he spectator the "clean* card at the end is a psychological touch. Audiences rarely remember exactly what Ihey see, and some concrete evidence of the fairness of your props (however irrelevant the 'evidence' may be) is 3 bonus thai may well add that tittle bit ext ra to your reputation.

It has taken some length to explain what is a short and very effective routine. It is easy to perform, and was one ol A1 Koran's closing items. There L'iiii be no Oner rcc onim^ndutioit.

TWENTY CARD MEMORY

Of all the presentations and methods for accomplishing this effect, A1 Koran's stands as probably the most memorable. Film actor Jack Palance, a friend of Al's, asserted that it was one of the most impressive things he ever saw Koran perform.

Here is how the spectators sec it. The performer goes among the members of the audience, having cards selected freely from a pack, until twenty people have each taken a card. The performer asks that each person remembers the name of his selected card; now the magician collects the cards, giving each spectator a number as lie docs so. The audience are told that they now have two things to remember; the name of their chosen card and their number.

The performer returns to the middle of the cabaret floor. The entire pack, including the selected cards, is placed in his right trousers pocket. The performer is now blindilolded. He now explains that he will call out random numbers and that the spectators to whom the numbers relate should call out the names of their cards. As he calls each number, he will reach into his pocket and bring out the first card he finds. Let's assume he calls out "Ten." In response, spectator number ten calls out, say, "Seven of Hearts." The performer whips a card from his pocket, and it is, indeed, the Seven of Hearts! This goes on. the correct card being produced each time, sometimes before the

KÖR AN1 S LfOACV

speetalur lias named it For the finish, when «nly two c:,rds remain in be named, the performer brings two from bis pock el and holds one up in each hand, hack outwards. 'I've found eighteen cards. «11 accurately matching their numbers. Mow I've got only I'wii to find "He pauses, then holds the card in his Jelt hand high in the air, still back outwards. -'Number sixteen;' he oil is; the spectator responds, saying, for example, "Ten of Uiamoiuk" The card is Hipped around and sure enough, it's t lie Ten of Diamonds! "Number one,'4 he calk, holding aloft the remaining card, "Eight ofClubs/'comes the response. The card is turned round, revealing that it is ihc Eight of Hubs; with his free hand the performer pulls off the blindfold and acknowledges the applause,

TI-JE METHOD:

1 he lrick is easy to do and requires no more Elian practice to produce a smooth presentation. Basically, rhc whole effect turns on the fact that the apparently random method of calling numbers is realty pre-arranged. Hie cards, or more precisely, the numbers relating to die cards, are menially held in groups of three, two and one. Here are Ihe jirotips:

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