tion. As always, the effect is what happens in the ¿e's peI'CHl3 (j aud><"ice's """ ' „gpense effect that relies on the difficulty angle to .„other strong ^ Michael Ammar's presentation of "Roll-Over „¡.ate 'U,C, h he pits himself against a stopwatch. The race-agamst-AceS" in whic" ^hael employs in this effect has long been a staple time 'echfimB It can be traced from the old silent melodramas 0f Bi'=Penseh r0 had to untie the heroine from the railroad tracks where the ne rcached th„ to the scene in Gold-finger where before the tr ^ defuse the homh he is handcuffed to before it Jantes Bon ^ watching the timer as it relentlessly

¿¡•tanatea, ® houT Undoubtedly, the concept has many more pt¿-°PPr°l applications in dramatizing close-up effects, teuti 8 ^ effect where conflict-uncertainty suspense can

A ?*a Jue t0 the great mathematical odds against success is be built.up f.;] prediction in which the method allows the provided V th¡_ spectator's total freedom of choke. Still

SSgood example'is the''Bank Night''effect.

11 these cases, the audience must know m advance what the former is attempting. If you simply have someone pick a card, then „ove a prediction from your pocket and have it read, this may come a surprise but it won't be a source of suspense. Quite simply, the audience won't realize until the end that a conflict was underway. SuDPose instead that you remove a prediction from your pocket at the ou"t and hand it to a spectator as you explain what youre about to attempt. You then permit another spectator to shuffle the deck and to select any card she wishes, allowing her to change her mind as often as she wants until she finally commits herself to a choice. Finally, you review the odds against success before having the first spectator read the prediction. In this case, the audience has been made aware from the outset of the seemingly insurmountable odds you are tacmg in your effort to predict the card. In this way considerable contlict-un certainty suspense can be developed.

•Out of this World "and any version of "Seven Keys to Baldpate" are Other good examples of where the apparent odds against success one potential for building suspense. Indeed all the effects discussed under Risk in Situational Meaning can be considered conflict-uncertain effects as regards suspense. In each of those cases the Pert°rmer attempting to overcome natural obstacles to his success ano "fang to risk something on the outcome of the conflict. Indeed in every effect one performs he must overcome some obstac:es 0 success—must run some risk of failure—but audiences really likely to fully appreciate that in a smooth running

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