el gran pescador(bigger fish), por peter turner(pdf)

Bigger Fish

Bigger Fish

Bigger Fish

Bigger Fish

Bigger Fish

I dedicate this book to my son

Zachary Dennis Turner.

I love you more than life itself little

man.

I love the way you can make rainy

days seem sunny and the way your

cheeky little smile always manages

to cheer me up even in the worst of

times.

You are growing up so quickly; I

want you to know you make me so

proud and I would like to thank

you for giving my life the direction

it needed.

I owe everything to you,

Daddy Turner x

Bigger Fish

Bigger Fish

Forward

In my book ‘A Journey Through the 4th

Dimension’ I discussed what I often refer to as the

three eras of modern mentalism.

The first era began with the rising popularity of

spiritualism in the mid 19th Century. The second

followed the popularization of ESP research in the

1920's through the writings and research of Dr. J.B.

Rhine. And the third began in the 1970s when Uri

Geller brought mentalism into the "New Age," much

as Doug Henning did with magic.

In ‘Bigger Fish’ as in his previous works, ‘Devious

Realities’ and ‘Dare to be Bold’, Peter Turner

exemplifies what may well be another major change in

the direction of our art.

Focusing on bold methods, modern dual reality

techniques and very clever audience management and

psychology, he has created some very powerful,

modern and organic mentalism routines that take the

meaning of the word "bold" to an entirely new level.

It is very important to read this work very carefully.

There is a lot of subtlety and nuance in the scripts

Peter provides with each effect.

My suggestion is to try the routines exactly as written

before you attempt to modify them lest you omit a

word or phrase that is critical to the psychology of the

effect.

Bigger Fish

I am confident that you will be very pleased with the

results. But, more important, so will your audiences.

Less than a year ago I had never heard of Peter

Turner. When I started to correspond with him I was

very impressed with his creative and innovative

approach to our art. He is at the forefront of a new

generation of mentalists to whom, in a very real sense,

the torch has been passed.

When you've read and tried the materials in this book,

I'm sure you'll agree that the torch is in the right

hands.

Bob Cassidy

Seattle, Washington

April 2012

Bigger Fish

A few words from the

author

Firstly I would like to start by thanking you from the

bottom of my heart; not for purchasing this book, but

for taking the time to read, accept and hopefully use

the effects contained within. For those who know me

already, you will know I am a fan of writing about

unusual rouses. For those who don’t know me, I hope

you enjoy what I have to offer.

‘Bigger Fish’ for me is a large mile marker in my

work and is the bigger brother if you will to ‘Devious

Realities’ and ‘Dare to be Bold’. The material in

this book is of a more mature standard, while

retaining the cheeky/ playful edge my previous works

had to offer.

When you read this book don’t view it as a list of

effects with instructions. The effects are not the

valuable factors in this book, the value lies in every

one of the many subtleties.

Each miracle in this book has been carefully chosen

for its perform-ability, numerous possibilities of use,

outside the box thinking and practicality. The material

has been tried/ tested extensively in real world

environments and it is my pleasure to present them to

you.

You will notice upon reading, each effect has been

described extensively; there is good reason for this. If

Bigger Fish

you cannot figure out how an effect is achieved while

reading the description, you will realise just how

fooled a lay audience will be. It is in that moment that

you will realise the value of the material you have in

your hands.

I really hope you will pay close attention to the verbal

subtleties; the subtleties are where 90% of the real

value lies. Please, please, please read the performance

sections.

Reading the method alone will not suffice; reading the

performance of each piece will give you a better idea

of the application of verbal/ physical subtleties and

the overall delivery and pace.

I hope you appreciate the detail I go into and don’t

skim these pages like a pebble skimming the surface

of a desolate lake.

Before we get into the material, I would like to answer

a question that you may have.

Why have I called this book ‘Bigger Fish’?

The answer to this question should be obvious to

anyone who has seen Tim Burton’s ‘Big Fish’. It’s a

wonderful film.

The film opened up my eyes to how miraculous my

own world could be, if I created a myth using the gift

of story. The film moved me severely. It created

moments of breathtaking wonder that I had not

Bigger Fish

experienced since early childhood and then I was too

young to appreciate what I had.

I have no doubt I will carry the feelings the film

evoked within me for the rest of my life, it changed my

whole outlook on the way I perform and as a result I

hope you notice it in this book. If you haven’t seen

‘Big Fish’, run out and buy it.

I will conclude this section with a couple of quotes.

“Freedom lies in being bold” - Robert Frost.

“God gave rock and roll to you”- Argent

“Any genuine philosophy leads to action and

from action back again to wonder, to the

enduring fact of mystery” – Henry Miller

“On paper a moment cannot theoretically last

a life time, in practice I defy that theory every

chance I get”- Peter Turner

Enjoy,

Peter Turner

Bradford, West Yorkshire

April 2012

Bigger Fish

Tattle tale

Effect

The performer invites a couple to join him at a table.

The couple become acquainted with the performer

(for the sake of argument we will call the couple

Romeo and Juliette).

The performer hands five Zener cards to Romeo and

five to Juliette.

The performer addresses the couple,

Performer: “In your hands you have five

cards, each of these cards have a different

symbol printed on the face. You will see that

there is a Square, a Cross, a Star, Wavy lines

and a Circle.

Can you please hold them up and just show

the audience”.

The cards are displayed to the audience.

Performer: “These cards, at this time, hold

no specific relevance. It is essential you listen

to me very carefully and all shall become

clear very soon. I would like you to mix the

cards into any order you desire”.

The couple mix their cards.

Bigger Fish

The performer addresses Romeo,

Performer: “Romeo, can you look at each

card individually, select one that appeals to

you and lay that card facedown on the table

for me”.

He selects a card and places it facedown.

Performer: “Juliette, can you look at the

cards in your hand and place the card that

you believe Romeo selected facedown on the

table”.

The cards are turned over to reveal that they do not

match.

The performer smiles as though he knows something

the couple doesn’t.

The performer addresses the pair,

Performer: “It is a common misconception

that conscious decisions or efforts are the

deciding factor when it comes to a

relationship lasting. That couldn’t be further

from the truth.

Humour me for a few seconds. Please pick up

the card you placed down, place all your

cards the under the table and mix them until

you forget the order. I would like you to do

Bigger Fish

this while thinking of a fond memory you

have of your partner.

When you have done that, keep the cards

under the table”.

The performer addresses the audience,

Performer: “Can we have a few seconds of

silence please while the couple perform this

task”.

A few seconds pass and both confirm it is complete.

Performer: “I would like you to select any

card you would like, without looking, turn

that card over and place it in the middle of

the rest of the cards.

In essence, you will now have four cards face

down and one card face up. When you have

done this, square them up and bring them out

from under the table facedown”.

After a few seconds the couple both bring the cards

out.

The performer produces an envelope, tips it upside

down, blows in it and asks Romeo to slide his cards

inside. The performer then hands the envelope to

Romeo to seal and then sit upon it.

Bigger Fish

The same procedure occurs again for Juliette and she

is asked to sit upon the envelope containing her cards.

The mood of the room is taken down.

Performer: “I am now going to share with

you a story, a local legend in North Carolina,

set in a town called Durham.

It involves a couple named John and Joanne.

The couple were just your average teenage

couple, both studying at the Duke University.

One evening the couple were lying in bed

after several months of dating, when the rain

started to tap on the window.

The couple were hidden under the duvet

protected by its warmth, when Joanne

snuggled up to John and whispered in his

ear. I love you. John reciprocated by holding

Joanne tightly in his arms and telling her he

loved her more than life itself.

Joanne fell asleep; John rolled over reached

into his bed side dresser and scribbled

something onto a piece of paper. He took that

piece of paper and sealed it inside an

envelope.

Bigger Fish

Several months passed and the couple did

everything they could do to consciously make

each others life easy. After a night at a

driving movie, during the journey home John

sensed uneasiness. He asked Joanne if she

was feeling alright and she asked him to pull

over.

She took John’s hand, looked at him teary

eyed and told him that she did not love him

anymore. She told him she thought it best

they parted ways.

John reached into his pocket as a small tear

rolled down his face and removed the

envelope he had sealed several months ago.

At the very moment John handed the

envelope to Joanne, a drunk driver swerved

off of the road and crashed into John’s side of

the car killing John and Injuring Joanne.

Joanne awoke in the hospital the next

morning, still clutching the envelope.

She opened the envelope and inside there was

a note that read,

When I lose your love, I lose my life.

Bigger Fish

The story of the couple quickly spread around

campus like wildfire and fell upon the ears of

a professor named Joseph Rhine.

Joseph Rhine was well known for his

research on the subconscious mind and

quickly deduced that relationships did not

work based on conscious efforts but a

subconscious connection shared between two

people.

Unbeknown to most, Joseph was fairly

unlucky in love himself and this discovery

ensured he would be able to find his perfect

partner. He put a lot of time and effort into

creating a test. It is even documented that his

work in other areas suffered as a result of his

research in the connection of couples.

He came up with a set of cards that he called

Zener cards. These cards had five different

symbols printed upon them, a Star, Wavy

lines, a Square, Circle and a Cross.

Joseph Rhine’s test consisted of separating a

couple into separate rooms and seating them

at a table.

Bigger Fish

Each member of the couple were handed a set

of five cards each, asked to place the cards

under the table, mix them up, reverse one

card then seal the cards into an envelope”.

The performer pauses, drawing a slight smirk onto his

face and looks at Romeo, then Juliette.

Performer: “I had you unknowingly take

the famous test that Joseph Rhine had his

subjects sit. I tried to conform to Rhine’s test

conditions. The only difference in this test is

you were not in different rooms, as that

would be impractical.

Romeo, take out the envelope you have been

sat on”.

The envelope is cut and Romeo carefully removes the

five cards.

Performer: “Juliette, please remove your

envelope”.

The envelope is cut and Juliette carefully removes her

five cards.

Performer: “On the count of three I would

like each of you to carefully spread the cards

to reveal the face up card.

One...two...three”.

Bigger Fish

The couples spread their cards and the face up card in

each couples hand matches!

The audience applaud wildly; the performer cuts the

round of applause.

Performer: “The face up, matching cards

was only a small part of Joseph Rhine’s test.

Can you both please turn over the top card of

the stack?”

The cards match!

Each card in turn is turned over and they also match!

Under seemingly impossible circumstances the couple

have not only managed to turn the same card face up

but managed to subconsciously mix the cards into the

exact same order.

The couple are given the cards and envelopes as

souvenirs.

Note* you will notice that there is a miss with the

conscious selection. I realise a miss might not suit

everyone’s character, so I have been delightful enough

to include five psi forces as a bonus!

Breakdown

Firstly let me point out that the value of this piece is

not in the method, but the rather dark but beautiful

story.

Bigger Fish

The method is a simple card switch.

We do this by employing the use of two, two out

envelopes described on page 128.

Prepare by placing two stacks of Zener cards into the

same order (with the same card face up in the

middle).

I.E. Star, Waves, (face down Square), Circle and

Cross. Place them in the hidden partition facedown

and mark the force side with an x.

Place these envelopes into your breast pocket;

There is not much in the way of explaining this

routine as it is fairly simple.

Let’s have a look at the routine from where the couple

have both placed one card face down and our

intention is that they do not match.

{The reason I prefer the chosen cards do not match, is

that it ties in with the story. The story depicts that no

matter how many conscious decisions a couple make,

it is the subconscious connection that decides how

perfect a couple are.}

If the couple happen to choose the same card, great!

You can still carry on with the routine as normal, but

at the end you can always say something along these

lines.

Performer: “You are not only perfect on a

conscious level, but a subconscious level also”.

Bigger Fish

After the couple have mixed the cards and turned one

over, make sure you emphasise the fact that they are

to sandwich one card into the middle of the five.

{Ensure you emphasise that they place the card face

up in the third position.}

When they have done that, ask them to square the

cards up and bring them out facedown.

This will ensure that the face up card doesn’t flash

(that would ruin things).

Once they have done this, remove one of the prepared

envelopes. Pinch it, blow into it and turn it upside

down.

Do not make a point of the fact the envelope is empty,

let them make that assumption for themselves. Ask

Romeo to place his cards into the envelope facedown

the same orientation as the prepared cards in the

envelope.

This is a bold moment.

Hand the envelope to Romeo, ask him to seal it.

Direct him not to look at his cards as you do not want

even him to know which card he has turned around.

Ask him to sit on his envelope; just to ensure no one

can get anywhere near it.

Repeat the process with Juliette.

Bigger Fish

I know the above bold moment seems ludicrous, but

trust me if you do not make a deal out of it neither will

they. They will not feel anything they shouldn’t and

best off all it makes everything seem totally hands off.

The routine will play out just as nicely if you seal the

envelopes and just lay them on the table in front of

each subject.

{Just a quick thought about bold moments. Moments

like the above are often avoided like the plague, in all

honesty bold moments are over very fast and are not

noticed if you do not pay attention to them yourself.

In the above moment, you will be creating hands off

misdirection. Firstly by asking the subjects to lick the

envelope and ensure they do not look at what card

they have turned over and then by asking them to

place it underneath them.

In the first moment of misdirection the subject will be

holding the envelope at the top to seal it; seriously

how many times have you sealed an envelope and felt

for its contents? (If you already know what’s in it).

Asking them to sit on the envelope (while they are still

sealing it) they have to move. This ensures their

attention is on making sure they don’t trip and

moving the chair out from under the table, the last

thing they will be thinking of is the envelope.

The story proceeds.

Bigger Fish

It comes to the moment of asking each subject to

remove their envelopes. Ask them to remove them one

at a time, in reverse order to what they were placed

under (Juliette first and then Romeo).

When Juliette has removed hers, ask her to hand you

it.

Cut the envelope open with scissors (where the x is),

make a very open handed gesture of sliding the cards

so they hang half out, do not remove them.

Ask Juliette to take them out keeping them facedown

This is where you will perform either ending A, B or C

(Depicted in a moment).

Repeat the same for Romeo.

The reveal

The reveal of this routine is the where your attention

needs applying.

Each subject has got hold of five cards all facedown.

You need to explain to the couple that they are to

carefully spread the cards without dropping any to see

which card they turned face up.

{Make sure you specify you do not want them to drop

them, this is essential.}

When the audiences’ applaud dies out explain that the

face up card matching is only a small part of the test.

Ask the subjects to turn the top card face up, then the

Bigger Fish

second, place the face up card down on the table and

hold the last two cards one in each hand.

Address the audience,

Performer: “If these last two cards match,

give this couple a huge round of applause for

passing the test with flying colours”.

Ask the couple to turn over the two cards

simultaneously.

Of course they match.

Execute one of the following endings.

Ending A

This ending is better suited for one off performances,

or filming.

After the cards are removed from the envelope screw

the envelope up and throw it in the nearest bin like it

means nothing. This will paint a picture of

unimportance and subtly suggests that the envelope is

done with.

When the routine has ended and each card matches,

give the cards to the subject as a souvenir.

{In this routine, you are giving away ten cards, ruining

ten cards and as you can see it can be expensive doing

this every performance.}

Bigger Fish

Ending B

Ending B is my preferred ending, you are giving away

the cards as a souvenir (not destroying any) and more

importantly you get to give them the envelopes to put

them in.

Giving the subjects the envelope will suggest that they

were un-gimmicked and stop anyone back tracking

the routine.

Before the routine starts, place two envelopes cut in

the same manner as you will cut the gimmicked ones

later into your breast pocket.

Create a divider, like the ‘two pocket out’ (described

in the seven bald keys routine).

When each subject takes out the cards place the

gimmicked envelope (still containing the cards) into

the breast pocket in the other side of the divider.

When both envelopes are in the pocket ignore them.

After the reveal and the round off applause, tell each

subject that they can keep the cards as a souvenir.

While the applause is taking place, reach in and pull

out the two un-gimmicked envelopes and hand the

subjects them one each.

In my opinion this ending is the strongest of the three,

giving the subjects the cards to keep as souvenirs is

again something I highly recommend. It helps them

remember the moment forever.

Bigger Fish

Ending C

Ending three is the simplest, after a subject has

removed the cards place the envelope straight into the

breast pocket. After the routine has finished take the

cards back off of the subject’s and thank them for

their participation.

Additional idea

After revising the book, I had a final thought about the

Zener cards. I know it can be a problem giving away

ten Zener cards at a time; a nice alternative is to use

your business cards and draw the symbols on. Then

when you give the cards away they are not only a lot

cheaper than packs of Zener cards, but great as a

promotional aid also.

Performance


Performer: “By show of hands, have we any

couples that are engaged to be married?”

(Wait for response and select one of the couples, if

there are not any ask for any couples in the audience).

Performer: “Can you please make your way

down to the stage; the moment you start to

set off the audience will give you a massive

round of applause”.

Bigger Fish

(The audience will applaud)

Seat the couple (female to the right, male to the left).

Address the couple,

Performer: “Are you happy to participate in

something I have been waiting to try out for

some time now, I promise I will not

embarrass you in any way”.

Couple: “Yeah sure”.

Performer: “what is your name sir?”

Subject: “Romeo”.

Performer: “and yours madam?”

Subject #2: “Juliette”.

Hand each member five Zener cards.

Performer: “You will notice that the five

cards I have given you are different. There is

a Star, Square, Wavy lines, Circle and a

cross.

These cards, at this time, hold no specific

relevance. It is essential you listen to me very

carefully and all shall become clear very

soon. I would like you to mix the cards into

any order you desire”.

Bigger Fish

The couple mix their cards.

The performer addresses Romeo,

Performer: “Romeo, can you look at each

card individually, select one that appeals to

you and lay that card facedown for me”.

He selects a card and places it facedown.

Performer: “Juliette, can you look at the

cards in your hand and place the one card

that you believe Romeo has selected

facedown on the table”.

She lays a card down; the cards are turned over to

reveal that they do not match.

If the cards match, proceed with the routine (either

way it doesn’t matter). Smirk as thought you know

something the couple don’t.


Performer: “It is a common misconception

that conscious decisions or efforts are the

deciding factor when it comes to a

relationship lasting. That couldn’t be further

from the truth.

Humour me for a few seconds. Please take

your cards back, place them under the table

and mix them until you forget the order. I

Bigger Fish

would like you to do this while thinking of a

fond memory you have of your partner.

When you have done that, keep the cards

under the table”.


Performer: “Can we have a few seconds of

silence please while the couple perform this

task”.

Pause and let them do what they have to do. It is quite

difficult to perform this task without looking and we

do not want to confuse matters.

Performer: “I would like you to select any

card you would like, without looking, turn

that card over and place it in the middle, of

the rest of the cards, so it is in the third

position.

In essence, you will now have four cards face

down and one card face up. When you have

done this, square the cards up and bring

them out from under the table face down”.

When they bring the cards out, reach into your breast

pocket and produce an envelope. Tip the envelope

upside down, blow in it and asks Romeo to slide his

cards inside. Hand Romeo the envelope and ask him

to slide his cards in, seal it and sit upon the envelope.

Bigger Fish

Repeat the same procedure with Juliette.

Performer: “I am now going to share with

you a story, a local legend in North Carolina,

set in a town called Durham.

It involves a couple named John and Joanne.

The couple were just your average teenage

couple, both studying at the Duke University.

One evening the couple were lying in bed

after several months of dating, when the rain

started to tap on the window.

The couple were hidden under the duvet when

Joanne snuggled up to John and whispered

in his ear. I love you. John reciprocated by

holding Joanne tightly in his arms and telling

her he loved her more than life it self.

Joanne fell asleep; John rolled over reached

into his bed side drawer and scribbled

something onto a piece of paper. He took that

piece of paper and sealed it inside an

envelope.

Several months passed and the couple did

everything they could do to consciously make

each others life easy. After a night at a

driving movie, on the way home John sensed

Bigger Fish

uneasiness. He asked Joanne if she was ok

and she asked him to pull over.

She took John’s hand, looked at him teary

eyed and told him she did not love him any

more. She told him she thought it best they

parted ways.

John reached into his pocket as a small tear

rolled down his face and removed the

envelope he had sealed several months ago.

At the very moment John handed the

envelope to Joanne, a drunk driver swerved

off of the road and crashed into John’s side of

the car killing John and Injuring Joanne.

Joanne awoke in the hospital the next

morning, still clutching the envelope.

She opened the envelope and inside there was

a note that read,

When I lose your love, I will lose my life.

The story of the couple quickly spread around

campus like wildfire and fell upon the ears of

a professor there named Joseph Rhine.

Joseph Rhine was well known for his

research on the subconscious mind and

Bigger Fish

quickly deduced that perfect relationships did

not work based on conscious effort but a

subconscious connection shared between two

people.

Unbeknown to most, Joseph was fairly

unlucky in love himself and this discovery

ensured he would be able to find his perfect

partner. He thought about this long and hard

and it is even documented that his work in

other areas suffered as a result of his

research in the connection of couples.

He came up with a set of cards that he called

Zener cards. These cards had five different

symbols printed upon them, a star, wavy

lines, a square, circle and a cross.

Joseph Rhine’s test consisted of separating a

couple into separate rooms and seating them

at a table.

Each member of the couple were handed a set

of five cards each, asked to place the cards

under the table, mix them up, reverse one

card then seal the cards into an envelope”.

This is where you will want to smirk mysteriously.

Bigger Fish

Performer: “I had you unknowingly take

the famous test that Joseph Rhine had his

subjects sit. I tried to conform to Rhine’s test

conditions. The only difference in this test is

you were not in different rooms, as that

would be impractical in this case.

Romeo, take out the envelope you have been

sat on”.

Cut the envelope (the side with the x) slide the cards

half out and ask Romeo to remove them.

Performer: “Juliette, please remove your

envelope”.

The envelope is cut and Juliette carefully

removes the five cards. The envelope is tipped

upside down, blown in and also placed into

the performer’s pocket.

Performer: “On the count of three I would

like each of you to carefully spread the cards

ensuring you do not drop any to reveal the

one face up card.

One...two...three”.

The couples spread their cards and the face up card in

each couples hand matches!

Bigger Fish

The audience applaud wildly, let the applause die

down and address the couple.

Performer: “The face up card matching was

only a small part of Joseph Rhine’s test. Can

you both please turn over the top card of the

stack and place it face up on the table”

Finish reveal as described in the breakdown.

While the audience are applauding, reach into the

pocket and remove the two un-gimmicked envelopes.

Throw them upon the table and address the couple,

Performer: “Please take the cards place

them in the envelopes and take them as

souvenirs!”

Send the couple back to their seats.

Credits/ Inspirations

Annemann

Joseph Rhine

David Britland - Zennerism

Peter Nardi - E.S.Perfect

Henry Fetsch - In the mind

Bigger Fish

Tattle tale (Couple-less)

This is essentially the same effect as ‘Tattle tale’, the

only difference is, it is designed for the performer to

predict the subject’s unconscious behaviour as appose

to two subjects sharing a subconscious connection.

The great thing about this routine is that the envelope

can be examined before and after!

You could perform this routine using the two out

envelope as depicted earlier but this just offers

another option for you.

You are sat with the subject and it comes to the

conscious thought.

I believe in this variation it is essential to have the

conscious thought hit, as apposed to earlier where we

aimed for a fail.

The reason for the hit in this circumstance is so the

subject gains trust in your ability. If you can predict a

participant’s conscious thoughts (before they have

even made a decision) why would you have any

trouble with their subconscious thoughts?

So how do we get the conscious thought to hit?

There are two ways to achieve this, you can mark the

subject’s cards, let him place one down and then read

the marking and place down the matching card from

your hand.

Bigger Fish

Or

Place your card down first and employ a psychological

force, you can use any of the psychological forces

depicted on page 35.

The latter is my preferred option as you have made a

decision long before they even make a choice; the only

problem is that it is not sure fire.

The first option is sure fire, (which option you choose

comes down to your decisions as a performer).

This phrase of the routine has passed, the subject has

now shuffled his cards under the table and

sandwiched one face up.

This is where the routine changes.

He is asked to seal his cards inside an envelope (it can

be completely examined); the only difference we want

him to sign the envelope to ensure it cannot be

swapped.

(Here we will employ a swap before he signs it)

After he has sealed the envelope, tell him that he is the

eyes of the audience and you want him to verify that

he cannot see through the envelope.

Take the envelope off of him and hold it up to the

light. Ask him to verify that the envelope is opaque.

Address the subject,

Bigger Fish

Performer: “Now you have verified the

envelope is opaque we will just have you sign

it, to ensure it is swapped at no point”.

The switch

Prepare by placing the pre-arranged envelope under

your left armpit (inside your jacket), and place a

marker pen on the outside of the left pocket as shown

in the photograph.

The clip on the pen lid is inside the pocket (holding

the pen onto the outside of the pocket. Ensure the flap

side of envelope is towards your body.

Bigger Fish

You are now set to perform the switch! Close the

jacket so no one is aware the envelope is there.

Bring your right hand (holding the subjects

envelopes) up to your right lapel and reach (with your

left hand) into the right jacket pocket as though you

are looking for a pen (we obviously know its not

there).

Take your time while searching in this pocket and

over emphasise your movements. This will suggest it

takes a bit of time and effort to search your pocket.

This is the cheeky part, grab your left lapel (with you

left hand) open the lapel slightly and with your right

hand (still holding the envelope) reach straight into

left breast pocket, deposit the envelope, on the way

out grab the pen and the pre-arranged envelope from

under the armpit in one smooth motion.

Bigger Fish

By taking our time in the first pocket, we have bought

ourselves extra time when actually applying the switch

in the second.

Now the switch has been applied, hand the pen and

envelope to the subject and ask him to sign the

Bigger Fish

envelope and when that is completed place the

envelope upon the table.

This is where you will tell a variation upon the story

depicted earlier or any other general story related to

Rhine. Proceed to the reveal as depicted in the last

effect.


The switch is a rework of Tony Corinda’s

Pocket switch

Annemann

Joseph Rhine

David Britland - Zennerism

Peter Nardi - E.S.Perfect

Henry Fetsch - In the mind

Bigger Fish

Psi-Symbol

Having read ‘Tattle tale’ you may not want to miss the

first conscious force. Here I offer five psychological

forces, each of these five forces do work. Each force is

very simple, like any psychological force nothing is

100%.

I have added another little nuance that will greatly

improve your chances of getting both subjects cards to

match.

We will imagine you are performing the

aforementioned routine. You will need to mark the

two sets of five Zener cards so you can determine

which symbol has been placed facedown at anytime.

Now when you ask Romeo (subject one) to choose a

card and place it facedown we now know which

psychological force to apply on Juliette in order to get

the cards to match. This will enhance our chances of

the cards matching greatly.

Circle force

Performer: “Juliette, I would like you to

ignore any suggestions you may think I am

throwing at you and just follow my

instructions.

I would like you to imagine a screen (draw a

square screen in the air) and on that screen

Bigger Fish

(draw the screen again) I would like you to

simply see a shape forming. When you see

that shape, take it out of your cards and place

it facedown on the table”.

{The subject will see you drawing a square a couple of

times, she will remember what you said about

ignoring any suggestions you give her and will

instantly write off picking the square from her cards.

She will hear the word simply and in her mind the

only thing she will think of is simple and shape. The

only shape in her stack of cards is a circle.

You may think that this is a very obvious force, trust

me it will fly by and go totally unnoticed. As far as

Juliette is concerned she has a completely free

choice.}

Square force

Performer: “I would like you to simply

imagine an image in your mind, something

you could draw like a Flower, Stickman or

the Sun. When you have that image in your

mind, I want you to look down and choose

the card in your hand that closest relates to

shape of the image you are thinking of. Place

that card facedown”.

Bigger Fish

{Here we are using a 3rd party force. If people choose

a House it resembles a square, a Car it is blocky and

also resembles a Square. Most drawings that are

simple based on probability alone will come back to

the Square and I have found it hits very frequently.}

Star force

Performer: “I would like you to look at all

the cards in your hand, I would now like you

to make a decision and take out the design

that you recognise as you’re favourite

placing it face down”.

{This is one of the easier designs to force, most

females will favour the star anyway and the square is a

shape not a design as is the circle.

The subject having not seen Zener symbols before will

not be accustomed with the Waves, therefore they will

not recognise it as their favourite.}

Wavy lines


look at the cards you have in your hand and

you will notice one that seems out of place to

you, it does fit in like the rest. Take that card

and place it facedown next to Romeos”.

Being a lay person, she will not have seen the Waves

before and therefore it will be the obvious choice.

Bigger Fish

Cross force


look across the cards you have in your hand

and you will notice you have a Square, a

Circle, a Star, a Cross plus some Wavy lines.

One of these cards will seem to stand out in

your mind take it out and place it across from

Romeos”.

{This force will is the hardest to get to get to hit,

luckily it is rarely chosen by the first subject.}

When I say the word across, the dynamics in my voice

are gentle like I am not trying to emphasis the word.

The reason for softening the voice is so it indirectly

stands out.

Additional thoughts

If the force does not hit you still have a chance to

remedy things! By marking both sets of cards, you will

notice if Juliette has placed a card down that does not

match Romeos.

All you have to do is get Juliette to change her mind.

Ask her,

Bigger Fish

Performer: “Was that card chosen

instinctively or did you just go with the one

that felt right?”

{Look at the question, they practically mean the same

thing but it gives you the chance to back them into a

corner.}

If they say instinctively, tell them to pick the card up,

place it back in their stack and then repeat the force

ending with “Go with the one that feels right this

time”.

This time implies that they are to change their mind,

thus giving you a greater chance.

If they say that they selected the card that felt right,

ask them to pick the card back up, place it back in

their stack and repeat the force ending with “Go with

the one your instincts tell you go with this time”.

Again this implies change and again increasing the

probability of getting a match.

Delivery is everything!

This is something I cannot help you with, movement

and delivery is something that will need to be tried

and tested to suit your own character.

I think emphasis on certain words make all the

difference between a force hitting and missing. There

are two ways to go about emphasising words; one is

indirect emphasis and the other direct.

Bigger Fish

Indirect emphasis is the process of softening words so

that one word is different to the rest and will subtly

stand out.

Direct emphasis, is hardening certain words to make

them stand out in a very direct manner.

Another subtlety is to tap a finger on the table when

saying words you would like to emphasise. I do not

know if there is any scientific proof that this makes

any difference, but it gives you a sense of actually

doing something and creates a belief in what you are

doing.

If you belief in what you are doing so will your

subjects.

Equivoque

If you are nervous about failing at a psychological

force, you could always rely on this clever equivoque.

This relies on taking advantage of words.

For example a Star can be described as a design or a

shape therefore if Romeo puts down a Square or

Circle (they can only be described as a shape) you

want to make out as though the Star is a design.

That way when you use an equivoque and eliminate

designs you are left with just two shapes (a simple

50/50 equivoque).

In the case of Romeo choosing a design, (Waves or

Cross) you want to describe the star as a shape. When

Bigger Fish

you apply an equivoque and eliminate that shapes

again it comes down to a 50/50 equivoque.

If Romeo chooses a Star,

You can cheekily try to get away with classing the

cross as a shape. By saying in your hands you have

three shapes, a Circle, Square and a Cross and two

designs a Star and Wavy lines.

Again when the equivoque is performed and you

eliminate shapes, it brings you down to a 50/50.

In this example we will say that Romeo placed down

the wavy lines.

Performer: “Juliette in your hands you have

five cards, three shapes and two designs. I

am telling you this early; this is going to be a

process of elimination.

If you were to select shapes or designs which

would it be?”

If she selects shapes respond,

Performer: “Ok so you are left with the

cross and the wavy lines”.

{Never say “Ok we will eliminate the shapes then”,

this gives the subject the chance to say “No I want

shapes”. (This happens very infrequently, but every

little helps).

Bigger Fish

If you just let her make the assumption she has

eliminated them from the game, it will seem natural

and flow.

If she selects designs,

Performer: “Ok, you selected designs, the

Cross and the wavy lines”.

As both lines lead you to two cards in the fairest sense

proceed.

Ask her to place the other cards to the side of her in a

pile, leaving the Cross and the waves in her hand.

Here there are a couple of options; you are left with

two cards (Waves and Cross) therefore you will need

to perform a clean equivoque.

Option 1

This option makes use of the markings.

(I will outline a way to mark bicycle backed E.s.p

cards. This is not original, but I have been marking

cards this way for a long time.

I have always referred to this as clock markings.

Arrange the cards into Circle, Cross, Waves, Square

and Star. We arrange them in this order as it is really

easy to remember.

One line = Circle, Two lines make up the cross, Three

lines equal the waves, four lines the square and five

Bigger Fish

lines in the star. Take an exactor knife, place the

Circle card facedown and scratch as depicted in the

place depicted below.

This is scratched at 12 o’clock (circle).

The Cross scratch at nine o’clock.

The Waves, scratch six o’clock, the Square three

o’clock and finally the star don’t mark at all.)

Bigger Fish

Cont*** (Down to two cards, 50/50 equivoque)

Ask her to hold the two cards in separate hands look

at the backs and note which hand the wavy lines card

is in.

Address Juliette,

Performer: “I would like you to hand one

card to me”.

Lean back so Juliette has to make an over accentuated

movement. Here is where you need to think fast, if

you see she is giving you the Wavy lines reach forward

take the card and without looking place it next to

Romeo’s card.

Address her,

Performer: “You happy that was a free

choice?”

She can only respond yes, the clever thing here is you

never looked at the card and as you didn’t hesitate to

put the card next to Romeos in her mind any card she

selected would have naturally been placed there.

If on the other hand she starts to move the hand

holding the cross toward you, take the card (not

looking) and place the card straight on top of the

discarded pile (the shapes). This will again create a

sense that whatever card she was handing you was

always intended to go on the discarded pile.

Bigger Fish

Again never mention eliminating cards, it’s over doing

things and we want subtlety. She is now holding the

Wavy lines, address her.

Performer: “Now only you know what card

you have left in your hand, are you happy

every choice you made was your own?”

{Everything has been very fair, so of course she will

declare how fair things have been. she has only made

two choices after all.}

Performer: “Place the card you have in your

hand next to Romeos”.

Option 2

This is a little bolder but is over very quickly and hits

nine times out of ten.

This also takes advantage of the markings, look to see

which hand the Wavy Lines are in.

If it is in her right hand great, if it is not, ask her to

swap the cards around and then close her eyes.

Address Juliette,

Performer: “I don’t want you to think, I just

want you to place the card that feels right to

you facedown on the table now”.

Snap your fingers to emphasise the word now.

Bigger Fish

Most of the time people will go with their right hand

and of course will be laying down the wavy lines.

I know this is rather bold but it looks so clean and fair.

Additional thoughts

With equivoque, I always love asking someone if they

would like to change their mind. It is very rare people

will change their mind but it really sells just much

choice the subject has.

If you portray as though you would like the subject to

change their mind, it makes most people want to stick

with their choice even more (as they believe you have

done something wrong).

{Do not try this with a gentle lady, chances are she

will think you have done something wrong and change

her mind to accommodate you.}


Luke Jermay - Judgement day

Banachek - Psi series 1

Bigger Fish

Sweet force of mine

This effect I was going to keep for myself. It is a

simple but effective experiment. You may read this

and think it is a little bold, I promise if you perform it

exactly as described it can look marvellous and rarely

fails.

This is a series of psi forces but strategically executed

to ensure the highest possible hit rate.

You will have fun tinkering with this and I hope you

can take this seedling and make it into something

amazing!

Effect

The performer is seated with a female subject, he

hands her five Zenger cards and explains their

relevance. After the female is accustomed with the

symbols she is told she is going to participate in

receiving a series of thoughts from the performer.

The performer places a card facedown, he then

telepathically attempts to send the card to the female

and she is asked to place a card facedown.

The cards are turned over they match!

This process is repeated for the rest of the cards and

the female is asked to think of an image. The cards are

flipped over one at a time to show that they match!

Bigger Fish

After the round of applause the performer directs the

female’s attention to his breast pocket and asks her to

remove an envelope from it.

She is asked to read the contents aloud and much to

everyone’s surprise, it not only proves he has correctly

predicted the order she would lay the cards down in

but it also reveals the image she thought of as well!

Breakdown

Firstly arrange a stack of Zenger cards into this order,

Circle, Square, Star, Wavy lines and Cross.

These are going to be handed to the female subject

(We will again call her Juliette for point of reference).

You can have your five in any order.

To prepare your prediction, writ on a business card:

‘Thank you for participating in this experiment, the

perfect candidate will be a female that will lay the

cards down in this order”.

Star, wavy lines, square, circle and cross

She should also find comfort in the image of her

house.

Slip the business card into an envelope and place in

your breast pocket.

We are going to force the cards in this order:

Star, wavy lines, square, circle and cross

Bigger Fish

{The reason I point this out is you can rehearse the

forces individually and tie them all together later.}

(You and Juliette are seated)

Begin by rearranging your cards (this is purely

theatrical). Take out the star and place it facedown on

the table in-between you and Juliette.

Address her,

Performer: “I want you to forget that I have

placed a card on the table, it is irrelevant.

What is relevant are the choices you are

about to make.

I want you to listen to me very carefully. I

would like you to look at all the cards in your

hand, I would like you to make a decision and

take out the design that you recognise as

you’re favourite placing it facedown next to

mine”.

This will almost certainly force the star.

Ask the subject to turn over the two cards to reveal

they match.

Now for the second card.

Pull out any random card, look confused, change your

mind, put it back in your cards and place the wavy

lines facedown on the table.

Bigger Fish

Your aim is to now to force the wavy lines,

Address Juliette again.

Performer: “I am going to transmit one

card to you and I want to see if you can pick

up on it. I want you to look at the cards in

your hand again and you will notice one that

seems out of place, it doesn’t fit in like the

rest, pull it out place it facedown across from

mine”.

Reach down to turn the two over and just as

you are about to reveal say “In fact we will

do the rest of them first”.

Place down the square.

Performer: “I would like you to simply

imagine an image in your mind, something

you could draw like a Flower, Ball or the Sun.

When you have that image in your mind, I

want you to look down and choose the card

you believe closest relates to the shape of the

image you are thinking of, then place it

facedown”.

85% of the time people think of a House, when she

has laid the card down pause for a few seconds and

look at her.

Bigger Fish

Performer: “Out of interest what image did

you think of?”

If she says House great, if not, it doesn’t matter you

don’t have to get the envelope out!

This is where the forces become a little more difficult.

Up until now everything should have been plain

sailing.

You only have the Circle and the Cross left, place the

Circle facedown.

Address Juliette,

Performer: “Ignore any suggestions you

may think I am throwing at you and try to

pick up on this thought.

I would like you to imagine a screen (draw a

square screen in the air) and on that screen

(draw the screen again) I would like you to

simply see a shape forming. When you see

that shape, take it out of your cards and place

it facedown”.

Emphasise shape, if you get her to choose Circle, she

is only left with the cross and that is by far the hardest

thing to get a hit on.

Place your final card down and ask her to place hers

down.

Bigger Fish

Turn the cards over and they match!

If the image hits, wait a few seconds and ask the

subject to reach into your breast pocket and remove

the envelope.

(If the image doesn’t hit they don’t have to ever see

the envelope).

{The forces may seem very obvious in reading, but

they most certainly will not be to a subject or anyone

in the audience (trust me).

If you are worried, you can always use this experiment

as a way to gauge the subject, a test of character that

will be important later on. Have a prediction in your

pocket, instead of laying cards down. That way if it

doesn’t hit, they will never know.}

This may seem bold but this works over the telephone

too! All you have to do is ask the subject to draw the

designs on business cards and follow your

instructions carefully.

I perform this piece very frequently and after a while

things become very natural.

The hit rate of this piece comes down to your

application of emphasis and correct pacing.


Luke Jermay - Judgement day

Banachek - Psi series 1

Bigger Fish

The book of the fallen

Effect

The performer introduces himself and proposes that

he tries a simple experiment. He Points to a table

upon which sits an old dusty book. (This could be

borrowed)

Without saying a word the performer reaches for a

paper ball and throws it into the audience.

The person who catches it is asked to stand and come

up onto the stage.

Performer: “Hi how are you?”

Subject: “Great yourself?”

Performer: “I am fine thanks for asking,

what’s your name sir?”

Subject: “Zach”

Performer: “Zach, you will notice upon the

table is a book; there is also a pad and pen on

the table. I would like you to approach the

book for me.

You will notice when you reach the table, the

pad has two post-it notes stuck onto it. One

on the top half of the page and the other post-

Bigger Fish

it on the bottom. Can you just raise each one

and confirm they have nothing written

underneath them”.

Zach: “They are clean”.

Performer: “Your job is very simple; you

are going to turn to any page in the book,

when you arrive at the page mentally select a

word. When you have that word in mind, I

would like you pick up the pen, write the

word underneath the top post-it and then fold

the post-it note back down so the word is not

visible”.

The subject chooses any page; they then choose any

word and then write the word down, folding the post

it down so it cannot be seen by the performer.

Performer: “I would now like you to

randomly select a member of the audience”.

The subject points to someone.

Performer: “Please pass the book, the pad

and the pen to that member of the audience”.

The random member receives the book, is instructed

to select any page, any word and write it under the

bottom post-it note. When he has done this the pad is

closed.

Bigger Fish

Performer: “I would now like you to point

to a member of the audience to be the judge

and final decision maker”.

He points to a female at the other side of the room,

she is handed the pad.

(Neither the performer or subjects know this audience

member).

Performer: “Please open the pad, decide

upon one of the two chosen words and give

me a nod when you have got one in your

mind”.

After a few seconds she nods.

The performer picks up a drawing pad, waits a few

seconds and starts to write. He gives the pad to the

Judge facedown and asks her to state the word she

has chosen aloud.

Judge: “Ambidextrous”.

The performer looks stunned.

Performer: “You weren’t thinking of

liquid?”

Judge: “NO?!”

Performer: “Turn the pad around”.

Bigger Fish

The pad is turned to reveal the word Ambidextrous!

The performer has correctly divined the word.

Notes* this works 100% of the time, the subjects are

never prompted, no pre-show, no stooges, no

gimmicked books (it can be borrowed with no prep

needed) and they have free choice of any page and any

word.

No peeks, no impressions and they don’t have to

choose the word from the same book!

Additional effects

Purely mental

Effect

Instead of choosing a word from a book, two subjects

are asked to think of a letter of the alphabet and write

it under the post-its.

The judge is then asked to choose one of the letters,

using that letter decide upon a country, a continent or

a place and then in that place choose a landmark or

monument.

They confirm they have got somewhere (this could be

anywhere in the world).

The country or landmark is never written down and is

all purely done in the mind of the judge.

Bigger Fish

The performer is quickly able to divine the place and

the landmark!

This can be repeated.

Purely theoretical

Effect

Two subjects are invited to the stage, asked to think of

a completely random word. They are told to ensure it’s

a word that would not easily be able to be guessed.

One of the two words is selected by a judge (test

conditions) and you can instantly determine what the

word is!

Breakdown

This is the only routine in the book that I am not

going to offer a presentation for. It is straight forward,

simple and very powerful. This routine came about

after toying with an older routine of mine ‘Simon says’

from my previous book “Dare to be bold”.

The reason I have not offered a presentation, is that

this principle can be used for so many things. Drawing

duplications, name reveals, bookless book tests, you

really are only limited by your own imagination.

Because of this, I think its best you choose your own

angle.

Bigger Fish

To prepare take two notepads; remove the front cover

off of one and the back cover off of the other,

Take the back cover and apply it the pad that still has

the back cover on (in essence you now have a pad with

identical covers).

Repeat with the front cover.

Notepads with identical covers can be purchased to

save you time having to make your own.

As you will notice in the picture there is a type of

elastic band around the pad. This keeps the pad closed

and over emphasises the fact I never open it.

After both subjects write a word, ask the second

subject to place the elastic around the pad.

Bigger Fish

Ensure the Pad is Spiral bound at the top (not on the

side).

Take a post-it note, cut it in half. Stick half of it upon

the top half of the page and the other half of the post-

it on the bottom half of the page.

I use two different coloured post-its. This just serves

as an extra convincer.

I would also recommend marking the force side of the

pad, just to ensure you hand the Judge the pad the

right way up.

Bigger Fish

Note that I have put a kink in each post-it, this

ensures that they stay down and hide the words

written underneath,

Close the pad, flip it over and apply a post-it to the top

and the bottom of this page (so it looks identical to the

page you prepared a moment ago).

Write two random words (in different handwriting).

One under the top post-it note and the other under

the bottom.

Write under the top post-it a boring standard word

(like ‘the’) and under the bottom a longer more

obscure word (like ‘ambidextrous’).

That way when asked to pick the more interesting of

the two, they will always go for the longer word!

Notes* If the post-its are thin, apply two. This ensures

the pen will not show through the post-it.

This is the side of pad you want to mark.

It’s always better to be over prepared!

Close the pad; open it so the unprepared side is face

up.

In performance, the post-its are not there to hide the

words from us (which seems logical), but to hide each

subject’s word from one another.

Leave the pad open.

Let each subject write a word and then close the pad.

Bigger Fish

Ask the subject to place the elastic around the pad.

When you ask the second subject to point to a judge,

take the closed pad off of the second subject and

under the misdirection of the audience looking to see

who they have pointed at, turn the pad over (so our

words are face up).

Walk over the selected judge hand them the pad (our

prepared side up).

Ask them to open the pad, peek at the words and

mentally decide upon one.

They are looking at our words, unbeknown to

everyone else!

All you have to do is fish for which out of the two

words they are thinking of, the easiest way is to use a

closed question.

“You are not thinking of a large word are

you?”

If they say they are, say “fantastic, concentrate on

the word for me”, if they say no say “fantastic,

concentrate on the word for me”.

You give the exact same response, the purpose of the

question is that it identifies instantly which word was

chosen.

You write the word down (in our case either ‘the’ or

‘ambidextrous’).

Bigger Fish

When you ask them to reveal out loud the word they

are thinking of, each subject that wrote a word down

will just believes that the word being said aloud is the

other person’s word!

There is nothing to question, for that reason you can

see how brilliantly this routine plays off! As you can

see this is no bolder than ‘The tossed out deck’ in

some of the tossed out deck routines five people are

thinking of the same thing simultaneously.

Force the Destination

Before the show prepare letters (under the post-its)

place the letter ‘I’ (under the top post-it) and the letter

‘Z’ (under the bottom post-it). When you put the

subject under pressure on stage, the subject will

struggle to think of a country that begins with ‘Z’.

Even if they do, thinking of a landmark will be

impossible, so they will naturally have to choose ‘I’.

Choosing the letter ‘I’ will force them Italy and the

landmark will be the Leaning tower of Pisa.

This is very simple, but so effective! There is no way

you could know the letter and because of that reason

you could not possibly know the Country (or

landmark).


David Hoy - Hoy’s principle

Bigger Fish

Trust you instincts 2.0

Effect

The performer invites a female subject up onto the

stage and asks her if she is a stooge or a confederate,

to which she replies she is most certainly not and that

she has never had the pleasure of being acquainted

with the performer before now.

The Performer asks her to pick any random male

member of the audience to join her on the stage; the

new participant confirms that he also is not a stooge

and is asked to take a seat.

The female is now asked to make a few decisions

based on her feelings.

The performer asks her to imagine a colour and then

use the colour she is thinking off to create a place in

her mind.

After a bit of thinking she states she is thinking of a

Beach.

(It’s a completely free choice).

Based on that decision, the performer believes the

female will be the perfect sender and the male the

receiver. She is asked not to state anything out loud

and just to think of her choices (keeping them to

herself).

Bigger Fish

She is asked to imagine a deck of cards and then think

of what colour card she would like. Once she has made

that decision she gets told to think of the suit and

finally the value.

A deck of cards is then produced and handed to the

seated male; the female is to imagine she is screaming

the card that is in her mind at the male, but say

nothing out loud.

He is asked to go through the entire deck face down

one at a time until he gets the feeling to stop, when he

feels he has to stop, he is to place that card face down

on the table away from the rest of the cards.

The performer then asks the female to state out loud

the card she selected mentally, the card that is in her

mind alone, she responds

“The Jack of Hearts”

The male is then asked to show everyone what card he

has set aside from the rest of the deck, it matches the

card the female subject had in her mind!

Just as the round of applause dies down, the

performer asks the female to reach underneath her

chair and she should find an envelope.

She opens the envelope and inside there is a postcard,

on the face of the card is a beach and on the back it

reads:

Bigger Fish

“I think the perfect sender will be a female, I

would like to thank her in advance for

thinking of a beach....and successfully

transmitting the jack of hearts!”

Breakdown

Although the effect mentioned sounds complicated to

perform, it is one of the simpler in this book; this

effect is based on an aggregate of simple nuances.

We need to force a colour and a playing card in this

routine.

I applied Theodore Annemann's slate principle but

put a fascinating spin on it, hold the subjects arm at

the back of her muscle (in the place security leads

someone out of a buiding back of muscle) and all you

have to do is give it a little squeeze when you want her

to select something.

This sounds obvious but because you are stood close

to her your bodies will hide you holding her arm.

Confused? If so, I promise you will know a more when

you read the performance section (there is also a

lovely misdirection).

Note* If you are seated next to the subject, stand on

her foot. (In performance replace squeeze arm with

press on foot.)

Now we need to ensure the male subject (the receiver)

selects the card you want him to select, whatever card

Bigger Fish

you are going to force the female (I use the Jack of

Hearts) purchase a one way forcing deck that matches

the force card.

The second subject is going to be asked to go through

the cards one at a time placing them face down on the

table, whenever he gets the urge to stop, he is to place

the card he stopped at away from the rest (ensuring it

is kept face down).

The great thing about this is no one can question the

deck, as it appears she thought of the card, there is no

way anyone could know what that card is, how can

anyone suspect the deck being fifty two of her card?

Here are some red herrings to kill the fact you are

using a one way force deck. I started applying these

(since the release of Trust your instincts v1) and they

have fried several performers who knew the original!

Place a random card on the bottom of the deck; then

another random card eight cards down from the top.

Make sure the two random cards are dramatically

different and preferably a colour that contrasts the

card you are about to force.

When you pull out the deck, tap the cards on the table

to square them (don’t make any deal out of showing

the bottom card) just tap it should get their attention.

Riffle shuffle the cards, retain the bottom card and top

say ten (I prefer to Zarrow and burn the top card each

time).

Bigger Fish

When you have shuffled the deck once hold your

hands palm up (again showing the same bottom card)

Performer: “You have seen a shuffle like this

before?”

The obvious response will be yes, but it sets you up for

this line

Performer: “Great so you know how fair it

is then”.

The psychology in the above line implies that the

subject already knows the fairness of events and

because he knows that particular shuffle this will

logically tell him the last statement was true.

The main purpose of the above lines is to create a

psychological misdirection. You are not employing

any funny moves while the misdirection takes place

but in that moment of questioning the subject is likely

to forget the face card they saw a moment ago (when

you pulled the cards out).

There attention is not on the cards, it is on answering

the question they were asked and more often than not

they will subconsciously register the card they are

seeing now as a new card (even though we know it’s

the same).

The questioning and shuffling only takes a moment.

This is where we really lay down the fact the cards are

all different.

Bigger Fish

We do this by simply demonstrating what the receiver

is going to do. Start placing the cards face down one at

a time while saying

“You are going to deal them one at a time

until you get the urge to STOP!”

When you say “stop!” keep the card you stop at in

your hand. I have timed this so that I always end with

the eighth card in my hand, (the second random card

you placed in the deck).

The colour and destination force is explained

in performance.

The great thing about this routine is that both

participants will freak out. She believes she is

mentally sending a card to him and he finds it, he

believes, (like the audience) that she thought of a

random card and he has found it using his instincts!

Performance

The performer addresses the audience.

Performer: “We are now going to try

something based on feelings, gut feelings to

be precise. It is a well known fact that gut

feelings are often proved right and many

people base their lives and the way they make

decisions based on these gut feelings.

Bigger Fish

How many people in the audience believe in

trusting their gut feelings?”

Wait for a response and select a female from the

audience with her hand up;

Performer: “I would just like you to confirm

we have never met and you are not a stooge

or a confederate?”

To which the female responds,

Subject: “No we have never met before

now”.

Take the subjects name we will call her Sarah.

The performer then asks her based on gut feeling to

choose a male member of the audience, when he has

approached the stage ask him the same question you

asked the female.

(The stooge question)

After he confirms he is not a stooge, you ask him his

name (we will call him Bob), ask him to take a seat at

the table several feet away and relax for a few

moments.

Address the female,

Performer: “I would like you to face the

audience, place your right hand up and point

Bigger Fish

your index finger towards the ceiling and just

relax”.

Grip the subject as depicted earlier, (If you are seated

stand on the foot). Ask her to step forward (this gives

you a reason for grabbing her here, you lightly hold

her and escort her forwards a step, not letting go of

the arm.)

Performer: “In a moment’s time Sarah we

are going to try something based on feelings,

I would like you to close your eyes for now

and just listen carefully.

In a moment you will get this feeling (squeeze

her arm whilst simultaneously waving your free hand

past the subject’s extended hand that points toward

the ceiling) and the feeling (squeeze arm) will tell

you what choices to make, use that feeling as

a guide to aid you select”.

{Let’s see what we have accomplished, the subject is

being prompted via the squeeze of the arm or stomp

on the foot. She thinks she is following that feeling,

the audience believe the feeling is going to happen

around the extended finger facing the ceiling.

You are forcing the subject using an invisible force, I

have performed this live many times and have not

ever been questioned on it, and it really is invisible.}

Proceed,

Bigger Fish

Performer: “I want you to try picking up on

the colour I am sending you, it could be Red,

Yellow, Pink, Green, Orange, Purple or Blue

(squeeze on Blue) which is it?”

The subject would have to be an idiot to not pick up

on a hint that size.

Sarah: “Blue”.

This is the psi force of destination using the colour.

Performer: “Ok Sarah, using the colour

selected, I want you to create a landscape in

your mind. For example if you had picked

pink it might see a field of pink flowers.

Green might have been a field. Build the

details in your mind and then tell us where

you are and what you can see”.

Pressure her slightly.

She has had free choice of destination and 9/10 times

it will always be a beach.

If she says she is on the sea ask her what she can see,

usually this will come back to a beach also.

If it misses don’t worry.

{Notice in the last piece of script I never mentioned

that she selected the colour. Again this is verbal

Bigger Fish

forking to play on the audience’s assumption, they

here selected and will assume she selected it.}

Either way hit or miss proceed.

Performer: “I think you will be perfect as

the sender in this experiment.

I would like you to imagine in your mind a

deck of playing cards, it is essential you say

nothing out loud during any of this as we

don’t want to give any clues away.

I would like you think Red (squeeze) or Black,

so that’s Red (squeeze) or Black.

Now for the suit (say this slowly) it could be

Club, Heart (squeeze), Spade or Diamond just

build the card as we go along.

It could be a Picture (squeeze) or a Number, if

it is a picture it could be a Jack (squeeze),

Queen or King or if it’s a number you have

from Ace right through to Ten.

Now Sarah, you have the image of a playing

card in your mind, no one else knows that in

this room, please don’t change your mind and

your job is to just try mentally sending that

playing card to Bob”.

Bigger Fish

Approach Bob and remove the deck.

Perform the Red herrings to make the deck look

completely normal.

Ask Bob,

Performer: “There is no way on earth that

you can know what card Sarah is thinking

correct?”

He will obviously respond he doesn‘t, hand him the

cards.

{This psychologically seals the fact that no one does

know the card identity and ensures the Sarah will

respond the way we want when he finds her card.}

Address Bob,

Performer: “I would like you in a moment’s

time, to deal the cards face down one at a

time and when you get the feeling to stop, just

stop at that card”.

Walk back to Sarah and address her,

Performer: “You must not say anything out

loud; just imagine telling Bob what your card

is in his ear”.

Address Bob,

Bigger Fish

Performer: “I would like you to close your

eyes and when you are comfortable begin,

imagine you can see every card and stop

when you get the urge to stop”.

Let him stop where he likes and ask him to open his

eyes,

Performer: “Keep that card face down for

the moment”.

Collect the rest of the cards put them in the case (or

your pocket) then state,

Performer: “Sarah, can you say nice and

clear what card you had in your mind?”

Sarah: “The Jack of Hearts”

Performer: “Bob, you really had no idea

what card Sarah was thinking of or the card

you stopped at?”

Bob: “No”

Performer: “Can you please turn the card

over, which you stopped at and show the

audience”.

Both participants will be amazed at this point, wait till

the round of applause dies (if the psi force has hit) ask

him to reach under his chair and remove the envelope.

Bigger Fish

Let him read the prediction aloud for another

rapturous round of applause and return the

volunteers to their seats. If the psi force does not hit,

both subjects still get an effect. The psi force of the

landscape just adds another layer of impressiveness

and is essentially tailored for the sender.


Phil Goldstein- Blue force

Annemann - Slate #1 principle

Bigger Fish

Wish you were here

The place force can be used as a stand alone effect I

will outline the performance as the method is

described in the previous effect (Trust your instinct

2.0).

This routine is not 100% (none the less 9/10 it will

hit!)

Please read the additional ideas where there is a

stronger but bolder effect for the subject.

Select a participant at random (we will call her Nicky).

Performer: “Hi Nicky, I would like to see

how you how you pick up on things based on

your intuition. I would like you to sit with

your eyes closed, would you mind if we

blindfolded you briefly.

Nicky: “No its fine”.

Performer: “Point your finger towards the

ceiling and just concentrate. In a moment you

are going to get a feeling around here

(perform misdirection move) I want you to

use this feeling as a guide to try pick up on

what I am sending you.

Bigger Fish

We will start simple, I will name out the

colours of the rainbow, as described in the

Rainbow rhyme.

Red, Yellow, Pink, Green, Orange, Purple or

Blue.

What colour do you think I am trying to

transmit to you?”

Nicky: “Blue”.

Performer: “Great, I want you to take the

colour you selected and use that as the main

colour in your pallet and in your mind paint

a landscape. So for example if you had

chosen Pink, you might imagine yourself in a

field full of flowers, Green might have been a

pasture.

If I had asked you to imagine a real place you

might think of somewhere you went when

you were young and therefore you would

have emotional ties attached to that place.

If you have emotional ties attached to a place,

you might be more inclined to give signs

away and therefore you creating your own

little landscape in your mind makes this a

little more impossible to guess!”

Bigger Fish

Nicky: “Ok, I have done that”.

Stare at Nicky for a few seconds.

Performer: “Peoples creations are often

reflections based upon their own

characteristics and preferences.

I am going to base my drawing on what I see

when I look at you”.

Pick up your pad and draw a Beach; label the Sea and

label Sand. I usually draw a little Boat and a couple of

Seagulls.

Hand the pad to Nicky face down.

Performer: “I want you to listen to me very

carefully Nicky; please do not say anything

till I ask you to.

What I see when I look at you, is a kind,

caring person that is warm hearted.

I think you are the sort of person that has had

some sort of past despair and as a result of

that, you keep people at arms reach.

When you let someone in to your private

circle, you really treasure them and are very

loyal person.

Bigger Fish

I think the place you are thinking of will be a

reflection of a recent mood you have had,

maybe wanting to escape from something a

particular scenario.

Based on that, the place you chose will be

relaxing; in your mind there will be no people

in this image...Although the landscape you

have designed would usually be seen as quite

a public place.

What landscape did you design in your

mind?”

Nicky: “A Beach”.

Performer: “Thank you for your

participation Nicky, You can turn the image

over now”.

She turns it over and freaks out!

The great thing about this is that the reading is very

ambiguous and will almost fit anyone. Even if the

reading misses (from the perspective of the subject)

you have restricted her from talking and from the

entire audiences’ perspective when she confirms the

landscape, she also confirms the entire reading.

(Confirmation principle)

Bigger Fish

Additional Ideas

If I am performing this routine, I usually will not

employ the stomp move (on the foot). I am a little

bolder; I will just say the colours of the rainbow and

let them naturally select a colour.

Chances are, out of:

Red, Yellow, Pink, Green, Orange, Purple or Blue. A

subject will often go for either, Yellow, Orange or

Blue. All of these colours will 9/10 times bring you

back to a Beach or sand.

You have eliminated Green and Pink, there is no

landscape you can paint with Red or purple so they

are literally forced to choose on of the colours we

want.

Even though this is bold it can also be used over the

telephone and when it hits long distance the effect is

even more startling!


Phil Goldstein- Blue force

Annemann - Slate #1 principle

Bigger Fish

A.W.A.A.P (Any word at any page)

Effect

The performer throws a paper ball into the audience;

the person who catches it is instructed to throw it

again, just to exemplify how random the selection

process is.

The member of the audience who catches the ball (on

the second throw) is asked to join the performer on

stage (we will call him David).

Performer: “Hi David,

I would like to attempt an experiment based

on subliminal influence. It is a little known

fact that words evoke emotions. Sentences

can steer people into saying and sometimes

even doing things they believe are their own

choices when in fact they are not.

I can see you are happy to participate

knowing that, (audience chuckle) don’t worry

I am not going to influence you but rather

you are going to influence a complete

stranger...over the telephone.

I would like you to look around the audience,

choose someone at random; it’s completely

Bigger Fish

your choice and the person you choose will

provide us with a telephone number”.

David chooses a random audience member.

The two people confirm they have never met.

The audience’s attention is turned to an easel with a

red cloth draped over it on the stage. The performer

claims that the easel will become relevant in a few

moments.

The mood of the room is taken down to a silence.

The performer addresses the second subject (we will

call him Pablo).

Performer: “Pablo, I would like you to go

through your telephone contacts and choose a

person you know you can reach now and

state the number out loud to me”.

Pablo looks through his phone and starts to call a

number out. Halfway through Pablo calling the

number out the performer stops him.

Performer: “Pablo, in fact to protect your

friend’s privacy please type the number in for

me and await my instructions”.

Pablo types the number into the phone and awaits the

performer’s instructions.

Bigger Fish

The performer informs David that when he receives

the phone, he is to become acquainted with the person

on the other end and when the niceties have taken

place, he is to read a sentence out (to the person on

the phone).

It is explained that when the sentence has been read

out, David is to ask the person on the phone to create

an imaginary book in his mind, call out a page

number, then to imagine looking on that page and call

out a word.

(This is all done in the imagination of the person on

the phone, there is no physical book).

When David understands what he is to do, the

performer asks Pablo for his friend’s name (in this

example we will call the person Erik) he takes the

phone and presses the call button.

(Everything so far has been ultra fair).

The male answers the phone, the performer explains

he is with Pablo and asks Erik if he can borrow him

for two moments, Erik obliges.

The performer informs Erik that the next voice he will

hear will be David. Erik is informed that David is

going to read a sentence aloud and hopefully that

sentence will influence him to say something that will

be important to the audience later on.

The phone is handed to David; the pair becomes

acquainted, David proceeds to read a sentence out

Bigger Fish

loud (we will say for the sake of example the sentence

is ‘the Cat sat on the mat’).

David then proceeds to ask Erik to create an

imaginary book and choose any page.

Erik chooses page twelve.

When asked for an imaginary word he says dust.

(The page and word are never misquoted).

The phone is handed back to the performer, who

thanks Erik for his time and ends the phone call. The

performer then reiterates how random the entire

experiment has been, from the way the participants

were selected, right down to having David talk to

Pablo’s chosen friend (so nothing could have be

misquoted).

The performer approaches the easel and dramatically

reveals his prediction.

“I will attempt to send page twelve and the

word will be dust!”

Notes* the subject types the number into the

telephone; the subject can call their friend back after

the show/ effect and each subject is chosen at

complete random.

No preshow, any piece of information can be

influenced (words, numbers or pictures) and the

sentence read out does not prompt the person on the

phone!

Bigger Fish

Breakdown

Did the effect description fool you? If so when you

read the method you will kick yourself!

Try this now.

Take out your mobile telephone, press the call button

twice and you will notice that it dials the last person

you called.

(Touch screens may vary, I know this works on any

phone with a call and end button and as explained

later I purposely use an old mobile telephone).

Please read on past the next paragraph, everything

ties itself up, I promise!

Bigger Fish

To make this work, before a show/ performance, tell

one of your friends/ partner (someone you know you

can reach during the show and can trust) that you

need their help.

Explain that during the show you will ring them, when

they answer the phone; you will say “hello, is that”

and will state a random name (in our example we

used Erik).

Whatever name you state, is the name that you want

your friend to pretend to be called. Explain to your

friend that they will be talking to a participant and

you want them to introduce themselves as that person

(in our case Erik).

{What I am about to reveal is a little subtlety that has

served me well.}

Explain to your friend that he will be asked by the

participant to create an imaginary book and then call

out a page number.

Tell him he must say page twelve (or whatever

number you want to use). Then he will be asked to

look up and down the imaginary page and select an

imaginary word.

Explain to your friend that he is to pause for a few

seconds and claim he cannot imagine a word.

{The reason for getting him to do this is for the benefit

of the audience. This will get a little laugh and kill the

slight amount of dead time that will be occurring.

Bigger Fish

More importantly, it will seem as though things are

not going the way you planned, which will subtly

suggest to the audience that the person on the phone

is struggling to make a decision and will kill any ideas

of him being a stooge later}.

Tell your friend when the participant says the words,

“don’t worry take your time” to respond with,

“Erm, ok the word Dust”.

Rehearse the phone call with your friend a few times

to make sure they understand exactly what to do and

are convincing.

Ensure this friend’s phone number is NOT saved in

your phone as a contact. This is important as on the

screen (after you have performed the dodge described

in a moment) it will show up as a name not a number

which is something we do not want.

Call your friend now and ensure you call no one else

before the performance. We need him to be the last

called person.

Please read this next section very carefully.

You will notice I have Pablo (the second subject) type

the number into the phone, this creates something

extremely wonderful.

It creates a strong moment of psychology; it sews up

everything logically from the audience’s perspective,

protects the first subject from being able to rumble

Bigger Fish

the effect (when he sees the screen he can never say its

not Pablo’s friend) and it is in this moment you will

apply your misdirection (as there is no heat on the

phone).

The dodge

After you have told the first subject (David) what to

do, turn to Pablo take the phone back nonchalantly

ask what the person’s name is.

{While waiting for the second subject (Pablo) to give

you the name, hold the phone openly (make the phone

unimportant, the emphasis is on the person’s name.}

When you receive the name tap the red button fast

(which will delete the second subject’s (Pablo’s)

number and return the phone to the home screen).

Then make a large motion of pressing green button

twice (this will call the last number dialled).

Be theatrical when pressing the green button, this

will subtly suggest to the audience that pressing a

button is a big thing and subconsciously suggests they

would have seen you press anything else.

There should be no reason why the audience would

ever assume there has been any foul play whatsoever

as the effect hasn’t even started yet. Just to over

emphasise this, let’s back up and take a recap of the

psychological process from audience’s perspective.

Bigger Fish

The subject was chosen at random, they chose another

subject at random, who chose the person on the

phone and that person typed the number into the

phone.

I think if you repeat the last few points to yourself,

you will see why this effect is so great; the method is

over before the effect even starts to take place and

everything is logically watertight thus far.

Notes* there will be no problems whatsoever using a

phone you provide (as long as you make sure the

above dodge works). I purposely use an old, popular

modelled phone; I introduce it as ‘old trusty’.

(If the model is popular people will recognise it as a

real brand and kill any suspicion that it could be some

magical prop. Some people are crazy and do think of

things like this)

I pump for a laugh when I introduce the phone, one

for calling it old trusty and two, the age of the phone. I

simply play it off as follows.

Performer: “You may laugh, but this phone

has served me well. More seriously after

having a phone stolen on stage I resorted to

using this.

It can be dropped and damaged or even

stolen without breaking the bank”.

This seems logical.

Bigger Fish

{In my honest opinion using an old modelled phone

that people recognise makes this effect stronger. It

will subtly suggest that there is not some crazy app

that has been made to respond to conversation. Like I

said, people are crazy!}

The next phrase, in my opinion is the most important.

The phone call

After you have introduced yourself to the person on

the phone (your helper) ask them if it is ok to pass

them onto a member of the audience that was chosen

at random (we know they will obviously oblige).

{If you really wanted you could get the person on the

telephone to barter slightly about staying on the

phone, but don’t over do it.}

The phone gets handed to the first subject (David).

This is where this phrase rockets to ominous heights

of interest (for us at least).

{This phrase was constructed to psychologically serve

a couple of purposes.

One, it reassures the audience there really is someone

on the other end of the phone and two it ensures that

any information is not being misquoted by the

performer (as it is not the performer reciting it).

Another beautiful thing to remember is that the first

subject (David) doesn’t know what the second

subject’s (Pablo’s) friend sounds like (how could he?).

Bigger Fish

What we have created here is a very nice use of dual

reality.

In a tight piece of dual reality everything will sew itself

up psychologically, be logical and that’s why I love this

effect!}

Let the phone call take place.

(The dialog of the call will be explained thoroughly in

the performance section).

We have now come to the end of the phone call.

I was searching for a novel way to end the routine that

ensured if the second subject (Pablo) rang his friend

later; it wasn’t going to ruin the whole effect.

I went with this ending; I thought it was the cleanest

of the several options I had available to me.

Amnesia ploy

After the person on the phone (Erik) has said the page

and the word to the first subject (David) take the

phone back.

Thank the person on the phone (Erik) and then before

hanging up say,

Performer: “In fact, before you go I would

like to try one more thing quickly. I would

like you to close your eyes for me and tell me

when you have done so.

Bigger Fish

Now take a deep breath in and when I count

from one to five you will notice everything

seems to just fade away and when I end the

call on five you will forget this conversation

ever happened, it will just be erased from

your mind.

One, everything seems to fade away slowly

now, two, you start to breath deeper, three,

my voice is only slightly audible, four

everything that has happened in the last few

moments seem irrelevant and the more you

think about remembering you just sort of

seem to forget five”.

Make a display of pressing the end call button, so the

audience can clearly see you have ended the call and

more importantly you have retained a consistency in

the way the buttons are pressed.

The subject is now free to call their friend later and

when their friend claims they were never on the phone

it makes the routine so much stronger!

Notes* Credibility is everything! You will know if you

can pull this off or not. You need to create

believability that is the key to having the subject argue

your case for you when he calls his friend later.

Bigger Fish

Reveal

Time for the reveal, this is the most important thing

as far as the audience are concerned. There is nothing

worse than reading a manuscript detailing every

single moment of an effect and it ends with “reveal

the prediction in any manner you desire”.

I have been suspect to the above before and in an

attempt to better myself, I have deemed I will detail

how to create a dramatic reveal (no matter how short

and simple).

The reason for a dramatic reveal is to create constant

moments of wonder in performance. I have seen

performances that were like rollercoaster rides, people

sitting on the edge of their seats in anticipation, all

staring on in awe and then bang all of the

aforementioned were ruined because the reveal lost

its dramatics.

The reveal for this piece is simple and direct.

David will already be on the stage, approach the easel

while remaining silent and point to the easel.

Wait a few seconds for absolute silence.

Look at David (remain silent) beckon him over, and

then break the silence. Ask take hold of the corner of

the cloth, while you take hold of the other corner.

Tell him not to pull the cloth off until the count of

three.

Bigger Fish

Address the audience.

Performer: “I would like you all to help me

count down from three to one, when I hold

my hands up into the air start counting.

Remember it was page twelve and the word

dust”.

Hold three fingers up

Audience and performer: “Three, (fold

one finger down) Two, (fold another finger

down) One”.

Pull of the cloth.

Give the audience a few seconds to register what has

happened and then ask for a round of applause for

David.

End of routine.

It is proven in such places as spiritualist churches that

if you involve an audience in a process it will evoke

emotions and that is certainly what we are looking for.

We want to make this simple process as dramatic a

process as possible and this gives the audience a sense

of being involved in what they witnessed.

You will notice I involved David in the reveal this is

also another ruse.

Bigger Fish

It is a common misconception that if an audience is

quiet after an effect that you did something wrong.

Not the case!

Sometimes silence is just as strong as an applause, as

the audience are speechless about what they have just

witnessed. It is often hard to break that silence and

having David on the stage gives us the perfect excuse.

You will ask the audience for a round of applause for

all the volunteers that have helped out. As the round

of applause takes place approach David and ask him

to take a seat.

As you can see this serves a very strong purpose, the

audience see a process (David is walking off the stage)

and at the same time the silence is broken and it

leaves us in a position to perform our next effect.

If this is your last effect, you want to be the only one

left on the stage and if the effect finishes in silence,

you can break that silence by thanking your audience

for coming and seeing your self out.

I hope all is understandable so far.

Please read the performance or I will curse you so that

your children are born naked!

Bigger Fish

Performance


Performer: “I would like to touch upon

something now that can only be described as

a form of mind control. Brain washing

techniques were very popular in the 70’s and

are supposedly still used by the C.I.A. and

other organizations.

Don’t worry we are not going to do anything

imposing, we are just going to lightly scratch

the surface of what is possible when the mind

is nudged in the right direction.

I am going to throw this paper ball into the

audience, whoever catches the paper ball,

throw it again in any direction you desire”.

Turn so your back is facing the audience and toss the

ball over your shoulder. As the ball lands with the first

person, remind them to throw it wherever they would

like.

When the ball hits the second person ask them to

stand. Ask the entire audience if they are happy to use

this person, they should of course say they are.

Address that person,

Performer: “Hi how are things?”

Bigger Fish

Subject: “Not bad”

Performer: “What is your name sir?”

Subject: “David”.

Performer: “Hi David, would I be correct in

saying we have never met before?”

David: “We have never met”.

Performer: “I would like to attempt an

experiment based on subliminal influence. It

is a little known fact that words evoke

emotions. Sentences can steer people into

saying and sometimes even doing things they

believe are their own choices when in fact

they are not”.

David looks worried.

Performer: “I can see you are happy to

participate knowing that, (audience chuckle)

don’t worry I am not going to do anything to

influence you but rather you are going to

influence a complete stranger...over the

telephone.

I would like you to look around the audience,

choose someone at random; it’s completely

Bigger Fish

your choice and the person you choose will

provide us with a telephone number”.

David makes his choice.

Performer: “Can you just stand for me sir.

Neither of you have met before correct?”

David: “No”.

Subject #2: “No never”.

Performer: “What is your name sir”?

Subject #2: “Pablo”.

Performer: “David, Pablo I want to

introduce you to old trusty”.

Pull out the old modelled telephone.

The audience giggle.

Performer: “You may laugh, but this little

guy has served me well but seriously after I

had a phone stolen on stage I resorted to

using this. It can be dropped and damaged or

stolen and it won’t break the bank.

Pablo please take out your telephone and go

through the contacts until you find a person

you know will answer the phone if I rang

Bigger Fish

them. When you have done so, just wait there

with the number until I have finished talking

with David.

Oh make sure the person is a male, they

respond better to such things”.

*Notes: I have only ever once had someone say they

could not reach a male and all I did to remedy the

situation was asked them to point to someone in the

near vicinity who could.

{While this process was taking place I again took this

as an opportunity to reiterate the randomness of

events}.

When Pablo starts to go through his phone, address

the first subject again (David).

(This is strategically placed to prevent dead time)

Performer: “David, in a moment I am going

to call the number Pablo gives me; you are

going to introduce yourself to Pablo’s friend

and when the niceties are taken care of you

will say this sentence to that person.

The cat sat on the mat.

These words are important, the cat sat on

the mat.

Bigger Fish

Once you have said these words you will ask

Pablo’s friends to imagine there is a book in

front of him, ask him what his favourite page

is in the imaginary book.

When he tells you the page he selected, just

tell us all out loud ok?”

David: “Yeah, ok”.

Performer: “Once you have said the page

out loud, ask him to imagine looking up and

down the page and choose a word.

Don’t worry; I will help you out when you are

on the phone in case you forget anything”.

Turn your attention back to the first subject

(Pablo),

Performer: “Have you found a contact

Pablo?”

Pablo: “Yeah I have”.

Performer: “Before we go any further I

would like to point out something that is

hopefully going to be relevant shortly”.

Pause for a few seconds in front of the easel to create

suspense. Let people’s curiosity get the better of them

Bigger Fish

before and after a few seconds you will notice the

audience will go completely silent.


Performer: “The more nosey amongst you

may have noticed this easel covered with a

red cloth, for those who have not seen it, it is

important you know this has been here before

we talk to Pablo’s friend”.

Performer: “What is the number Pablo?”

Pablo: “07”.

Start to type the number in.

Performer: “In fact to protect your friend’s

privacy, you type the number in and await

my instructions”.

Pablo: “I have done it”

Performer: “Great, David you remember what

you are to do correct?”

David: “Yes”.

Take the phone back off of Pablo and perform the

dodge and misdirection described earlier and call your

associate.

Bigger Fish

When your friend answers, remember to talk politely

(people think you are calling someone you have never

met).

Performer: “Hello, Hi is this Erik?”

Helper: “Yeah it is”.

Performer: “Hi Erik I am with Pablo he is

onstage and we are trying an experiment.

Yeah he is fine, say hello everyone”.

Audience: “Hello!”

Performer: “Would it be ok to borrow you

for a few moments, I promise we will not

keep you a moment longer than we have to.

Great, I will run you through what is going to

happen. I will hand you over to a member of

the audience, he will read a sentence to you

and then ask you a couple of questions is that

ok?”

When he says it is, hand the phone to first

subject (David). As you are handing it over

remind David to introduce himself.

David receives the phone.

David: “Hello”.

Helper: “Hello”.

Bigger Fish

David: “You ok?”

Helper: “Yeah you?”

While they are talking, this process can be boring for

the audience. I usually roll my sleeve up and pretend

to be looking at my watch. This creates a small

moment of humour the audience can enjoy and will

invoke a little laugh.

Remind David to ask Erik to imagine a book

David: “I would like you to imagine you are

looking in an imaginary book”.

Performer: “Tell him to call out a random

page number”.

David: “Can you call out a random page

number please?”

Helper: “Twelve”.

David: “He said twelve”.

Performer: “Great now ask him to imagine

looking on page twelve and say a word he

sees on this imaginary page”.

David: “Can you imagine looking on this

page and say a word you see?”

Erik: “Erm, I cannot imagine one”.

Bigger Fish

David: “He says he cannot imagine one”.

The audience have a slight giggle at this, if you notice

David is not talking, ask him what Erik is saying, you

want him to vocalize the point Erik isn’t sure.

Performer: “Tell him to relax and take his

time”.

David: “Take your time, just relax”.

Erik: “Erm....Dust I will go with that”.

David: “He says he would like the word

dust”.

Ask for the phone and when you take the phone back

this is where you will employ the amnesia ploy

described earlier.

When you hang up address David,

Performer: “So David, he chose the word

dust and page (look confused), what page

was it?”

David: “Twelve”.

Recap just how fair everything was.

{Although the conversation seems to take a massively

long amount of time in writing, it is over fairly sharp

in performance}

Bigger Fish

Employ the reveal described in the method section to

finish the effect as solidly as possible.

Notes* you could always hand a prediction out in

advance in an envelope; you do not have to use this

piece as a stage piece.

Additional idea – Mike

Phillips.

This following reveal I think is a fantastic way to end

the aforementioned effect. It is that great, I wish I had

thought of it!

You will need to print your own book for this reveal,

but I promise it will be worth it. In the example used

above, we know page twelve is the page that we will be

using and the word is dust. Create a book with the

page numbers at the bottom of each page and all

blank pages (except page twelve). On page twelve have

the forced word (in this case dust) printed boldly

across that page.

Additional idea – Felix

Schellenberg

As a compromise you can also use any regular and

well known novel you like that fits the context of the

performance setting and the predicted words. Since

you are free what word and page are to be named, you

are home free in finding a suitable pair in the book.

Bigger Fish

Just circle the word, and your prediction is right....!

Explain that the sentence used to influence the

participant is from this very book and our brain

subconsciously creates a connection to this text. The

book can be left on display the entire time and when

the book is shown to be empty with only page twelve

printed I can only imagine how strongly that will play

out.

Upon reflection, if the audience never knows there is a

prediction until the last minute, it might further

suggest to them that everything is fair play (in regards

to the phone call).

Additional idea – Colin

McLeod

This serves as a beautiful convincer to the audience.

After you have asked Subject#2 to choose a contact

from their phone, you ask them to call the number out

and you stop them. You hand them the cell phone to

type it in themselves (as to protect their friend’s

privacy).

As you hand them the telephone, peek at the name of

the contact (they are going to type in). We will say it is

‘Jim’. Step away and let them type the number in.

Take the phone back off of the subject, employ the

described doge. When the phone is answered,

introduce yourself and explain you are with their

Bigger Fish

friend onstage. After you have given your name ask

them for theirs.

(Tell your confederate before the show to just say

something random here as it doesn’t matter).

This is where we employ the convincer.

You remember the name you peeked; in our case it

was ‘Jim’. Then you respond with this.

Performer: “It’s lovely to become

acquainted with you Jim, yeah I will tell

him”.

Address the subject who typed the number in.

Performer: “Jim says hi”.

Because there is no way you could know the name of

the subject’s friend (as you have never asked for it),

when the subject responds to Jim saying hi, everyone

will believe you are talking to the subject’s friend!


Annemann - ‘Weird Wire’, ‘Wired thought’

and ‘On the wire’.

Paul Marcus - ‘Across the void’.

The wizard phone trick.

Docc Hillford- Cellular Mitosis

Bigger Fish

Optional opener (A.W.A.A.P)

The thing I love about this lead in is the unlimited

ideas that can be created using this principle.

Although it is small in nature do not underestimate

the strength of this piece.

Another reason for including this piece is that it also

scratches upon something that will be mentioned later

in the 'my thoughts' section of this manuscript.

As you may have noticed the above effect has two

reveals, this adds a third reveal to the routine and

involves the entire audience.

Effect

The first subject (David) that is chosen in the

A.W.A.A.P routine is handed five envelopes

(numbered one to five).

He is told that in each of the envelopes there is the

title of a book written upon a piece of card and that

each title is different and each book is from a

completely different genre.

David is told that each title has been specifically

selected to influence a stranger he will talk to later on

the telephone. David is then informed that the

audience are going to vote as a collective on which

envelope they would like to use to influence this

stranger.

Bigger Fish

He is directed to open each envelope and look at the

titles of each book. While the subject is doing this, the

performer addresses the audience.

Performer: “Each envelope David has a

hold of has a number written on the front.

The envelopes are numbered one to five. This

is where you the audience get to make a

decision, you are going to choose which

envelope you would like to use for this

experiment.

We are going to count the votes by round of

applause, in a few moments when I ask if you

would like envelope number one, the people

who have mentally selected number one just

give me a round of applause to let me know

that’s the envelope you would like to use.

When I say two, if you are thinking of two

just give me a round of applause to let me

know you are thinking of two.

We will go with the numbered envelope that

gets the most round of applause; do we all

agree that’s fair?”

Audience: “Yes!”

Bigger Fish

The performer turns his attention back to

David,

Performer: “David, can you confirm that

each book title is different and more

importantly each book is from a dramatically

different category. One is a children’s book,

one a horror and so on and so forth”.

David: “Yeah, each title is different and the

books are from different genres”.

The performer then asks the audience which number

they would like. We will say for example the majority

of the audience choose five (it can be any number).

Pablo is asked to read the title of the book that is in

envelope five.

“The Mystery of the mental Merkin”.

The effect follows suit as described above (A.W.A.A.P)

and proceeds to the reveal.

You have successfully predicted which envelope the

audience will choose!

Notes* No gaffed envelopes, the subject confirms

everything for the audience and the audience have

free choice of any envelope!

Bigger Fish

Breakdown

You can see how strong this plays from the

perspective of the audience; it can really strengthen

the original effect and serves as a fantastic convincer

that everything on the phone was legitimate (not that

it won’t seem legitimate, but every little helps).

Before we get into the methodology of this piece, I

would like to make it apparent this can be achieved in

a variety of ways and I will also offer another variation

directly after this method.

The presentation I outlined above is based on simple

dual reality and word play.

Firstly prepare the envelopes by numbering them 1-5.

Then prepare five cards as follows.

The first card.

Title: The mysteries of the Mental Merkin.

Genre: Children’s book

The second card.

Title: The Mental Merkin.

Genre: Horror

The third card. (This card I have found the most

frequently selected)

Title: The life, of the Mental Merkin

Bigger Fish

Genre: Drama

The fourth card.

Title: The travels of the Mental Merkin

Genre: Geography

The fifth card

Title: The mental miracles from the mind of

Merkin

Genre: Religion

Note* I don’t use these title in performance; these are

for a good friend of mine, I promised you a mention!

The titles of the book are really irrelevant, as long as

they all contain one name repeated.

{The best way to convince the audience that these are

possibly books that already exist, use a name that is

well know.}

(I.E. “The life of Stephen King”)

Write on the easel.

The audience will choose a book based on the

life of the Mental Merkin (or whatever name

you chose), this will influence the male on the

telephone to choose, page 12 and the word

Dust.

Cover with the cloth.

Bigger Fish

You will understand how the ambiguity of the reveal

plays off later on.

The secret of this routine relies on verbal finesse. If

you look at each of these titles they are all different

but the thing that is the selling point as far as the

audience is concerned is the genres.

I cut down any leeway the subject may have by giving

them specific instructions.

Performer: “I would like you to look at each

card and make sure each title is different and

you will notice that each genre of book is

dramatically different”.

While saying this I take the envelope that is on the top

of the stack and slide the card inside it half out.

Notes* I never tell him this is how he should look at

each card, that is important to remember. In a

moment we will create an assumption that will

practically force him to copy the way I want him to

look at the bits of card.

{The reason for him looking at each card like this is

very important. It will ensure no on else in the

audience sees the card and two it ensures he never

drops the card as the card is not pulled fully out of the

envelope it will act as a safety net.}

After sliding the card out of the envelope I state,

Bigger Fish

Performer: “As you can clearly see this book

is a religious book”.

Tap your thumb (gently) under where it says genre.

The opaque nature of the card hides your thumbs

movement.

Let him nod to confirm (or even better vocalize) the

fact he knows the books genre.

{This dodge creates something absolutely wonderful.

It subtly tells the subject to look at each genre, on

each card (when he gets chance) without having to

actually vocalize it.

More importantly, the word clearly will suggest to

the audience by looking at the title of the book the

subject knows exactly what that book is and it is clear

what it’s about.

It also opens up a possibility to create a logical

consistency later that will really sell the fact that all

the titles are different so please read on.}

After the subject has seen the card slide it back in the

envelope state,

Performer: “I would like you to do this for

the rest of them”.

Place this envelope to the bottom of the stack and

hand the subject the stack.

Bigger Fish

It is important to show the subject the card and then

instantly use the above scripting. Place the envelope

to the bottom of the stack after you have used this

scripting or you run the risk of them just shuffling the

envelopes.

{Let’s have a look at the last verbal line; you will

notice that it is very, very ambiguous and can easily be

taken for several things.

It contains the important words “Do this”. Do what?

Look at each category/title? Slide the cards out a bit?

Keep the cards to myself so no one can see them?

The greatest thing I think about this is that

psychologically most people will just repeat what you

did, for fear of looking stupid.}

We will now explain to the audience about the voting

process.

Performer: “Each envelope David has a

hold of has a number written on the front.

The envelopes are numbered one to five. This

is where you the audience get to make a

decision, you are going to choose which

envelope you would like to use for this

experiment.

We are going to count the votes by round of

applause, in a few moments when I ask if

you like envelope number one, the people

Bigger Fish

have mentally selected number one just give

me a round of applause to let me know that’s

the envelope you would like to use.

When I say two, if you are thinking of two

just give me a round of applause to let me

know you are thinking of two.

We will go with the numbered envelope that

gets the most round of applause; do we all

agree that is fair and understand what you

are to do?”

{Again the last line is something I find really clever, it

might not excite you as much as it does me but I will

explain it away none the less.

The thing I love about the use of the last line is that it

forces the audience to say yes, even if they don’t think

it is fair (which in this circumstance things most

certainly are). The audience will naturally register the

above as one question, not two and answer to the last

question they hear.

In later routines in the book you will see just how

these nuances can be used to our advantage.}

Explaining to the audience about the voting process

gives the subject ample time to have a look at each

card. More importantly this will ensure that the

audiences focus is taken away from the subject/the

envelopes and kills any dead time.

Bigger Fish

After you have explained how they will vote, turn your

attention back to the subject.

Performer: “Each of the titles are different

and the genre of each book is dramatically

different correct?”

{Ending the sentence with “correct?” implies you are

just looking for a yes or no answer and the only way

he can answer that question is with a yes.

This is where the line we slipped in earlier about the

genre being Religion comes back into play and gives

us leeway to mention how dramatically different each

genre is. This will subtly suggest to the audience that

you have chosen five books that are worlds apart.}

For the sake of being thorough let’s take a look at

what should be going on in the audience’s mind.

(I will describe the process as though I was an

audience member).

David was chosen via the toss of a paper ball, anybody

could have been chosen, even me. There is no way he

would tell a lie; I could have got that envelope and I

wouldn’t have lied.

As far as the audience is concerned the subject's word

is gospel (so to speak) and I really love to take

advantage of such things.

Bigger Fish

Let the audience vote on an envelope. They really can

choose any envelope so the voting process is just that,

a process.

We will say they chose envelope three.

Ask David to have a look at the title in this case it is

“The life of the Mental Merkin”.

Take the envelopes from the subject; proceed to

address the audience (the envelopes are still in your

hand).

Convincer dodge

Performer: “Each of these book titles has

been chosen for a specific quality. Each of

these titles has been known to influence”.

Say this while walking towards the audience, (leaving

David stood behind you).

Performer: “Books have been known to

influence people in a variety of ways, for

example, a lot of you will know about ‘The

Catcher in the Rye’ by J.D Salinger and the

evil influence it had on Mark Chapman”.

{Here you can create another great moment of

psychology. If you use the above script, while holding

the stack of envelopes in your left hand and just one

envelope in your right (nonchalantly), the audience

Bigger Fish

will assume that inside the solo envelope the title is

‘The catcher in the rye’.}

Place the solo envelope to the bottom of the stack and

slide of the top envelope into the right hand (as small

motions as possible).

Performer: “Or the Bible, this has had a

massive effect on many people’s lives”.

{The key word in the script is “this”. The audience see

you holding one envelope separate, they will assume

you are pointing out that this is the Bible. This ploy

will take the audience back to the start of the routine

where David confirmed that he clearly saw a

religious book.

While all this is going on, the subject (David) is

behind you, therefore your body hides the fact you are

holding one envelope separate. He cannot see the

envelopes; he has to rely on what you are saying.

If you look at the scripting, there is nothing that

would suggest you are doing anything out of the

ordinary.}

As a rule, I only use name two titles. I believe using

more than two will be overkill, subtlety is what we

want to portray and two is the right amount to nudge

the audience into thinking the way we want.

I would like to address an issue before we proceed

with the explanation of this routine. I know you may

have this question in your mind.

Bigger Fish

“What does the subject who reads the titles get out of

all this?”

In all honesty I thought about this long and hard and

realised there wasn’t a problem. If you read to the end

of this section, you will see I have done everything

needed to tie things up accordingly.

Here is my train of thought.

If you make the title selection seem an irrelevant thing

(as far as the subject is concerned) and don’t make a

fuss out of the reveal, the subject will never suspect

any foul play.

If the subject never suspects any foul play, he has no

reason to talk about such things later. If anything,

because he talked to the person on the telephone, he

gets more of an effect than the audience.

All he has heard so far is that each title is strategically

chosen to influence the person on the phone, so

naturally that is all he is expecting.

The only other change to the routine, from this point

up until the reveal, is instead of having the subject

(David), recite a sentence to the person on the phone,

you will have him recite the title that the audience

selected.

The purpose of having the title recited is to keep the

title fresh in the audience’s mind and this will also

help sell that the title is what is influencing the person

on the telephone.

Bigger Fish

We shall now fast forward to the reveal.

This is where we are going to play on the audience’s

assumption a little more.

The thing I was aiming for was to have the subject

assume the reveal of the title is a statement and the

audience assume that is a prediction.

This is what I write as the prediction.

‘The book will be based on the life of the Mental

Merkin, this will influence the male on the telephone

to choose, page 12 and the word Dust’.

Let’s have a look at this reveal from the audience’s

perspective.

The audience are under the assumption that the books

are totally different and you have somehow predicted

the title they would choose before the show even

started!

This will also set in stone the reveal of what was said

on the telephone and adds another layer of deception

to the routine as a whole.

If you look at things from the subject’s perspective,

when he reads the easel he sees the first bit as a

statement. In his mind the only thing you attempted

to do was influence the person on the phone and you

succeeded!

Everything else in his mind is irrelevant; why would

he feel the need to mention anything about the titles

Bigger Fish

of the books? The only thing going on in his mind is

how fair everything was.

You have no need to worry about anyone from the

audience going up to the subject and asking what the

titles of the books were either. It’s such a weird

question to ask and earlier we did something that

would stop this moment ever occurring.

We had the subject confirm all the titles were

different, we let the audience choose one of the titles

and it was read out loud. We proceeded to name two

more titles (The catcher in the rye and the Bible).

For the above reasons, you can see why this routine

plays so strongly.

This method relies strongly on verbal direction and

good subject control, verbal direction is as good a

method as any psychical method and should not be

avoided.

I have used it many times, for many different effects

and it very much suits my style. One of the main

reasons this opener made it into the book, is that it

really helps tie in with some thoughts of mine and this

is a good point of reference.


Barrie Richardson (I love his “Lazy mentalist”

effect and his use of dual reality).

Kenton Knepper for his use of verbal wizardry

Bigger Fish

Alternative Method

We will be using a very similar envelope to the one

found in Anneman’s Practical Mental Magic (with a

few adjustments).

To construct the two way envelope you will need.

Two, size 6 Seed envelopes, (these are the best type of

envelopes).

Post it glue.

Scissors.

Bigger Fish

Take one of the envelopes and cut all the way around

it. If you have done this correct the flap and the back

of the envelope will be loose.

Remove the loose pieces; keeping the address side of

the envelope, we will call this piece the ‘divide’.

You may need to trim the divide a little so it slides

snugly into the un-attacked envelope.

Bigger Fish

Push the divide as far into the envelope as far as it will

go.

You may have noticed that the piece you have slid into

the envelope slightly over hangs the lip of the un-

attacked envelope

Bigger Fish

We do not want this! If this occurs, slide the divide

out and trim it until it sits in the envelope as depicted

below.

If you squeeze the envelope, and look into it, it will

look like this.

Bigger Fish

When the divide fits snugly, slide it out and apply a

small layer of glue as depicted in the picture below.

Flip over the divide, as shown in the picture below (do

not place back onto the table) and slide it back into

the un-attacked envelope. The glued side goes right

down into the bottom of the envelope.

Bigger Fish

Wait till the glue dries, look at what you have, you will

notice that you have a partitioned envelope. Lay the

envelope onto the table, Slide a book title facedown

into the partition that is closest to you.

Apply a small amount of glue in the place depicted in

the above picture, then seal that partition shut.

Mark the envelope with a little x (on the side of the

envelope with the forced book title in).

This will ensure you cut the correct side of the

envelope and will ensure that the title is orientated

correctly when it is removed later.

You will need to prepare five of these envelopes, each

five containing a force title in the secret pocket and a

random series of titles in the other pocket.

Bigger Fish

In essence, depending on which end of the envelope

you cut, depends which title will fall out. In

performance you will handle things a little differently.

The main difference is that you never let the audience

see inside the envelopes until after they have voted on

an envelope.

For example, we will say the audience has voted on

envelope number one.

You cut the four envelopes to reveal four different

titles (opening the non force side) and then the

envelope the audience chose you would then cut on

the side with the little x.

I would recommend screwing up each envelope after

opening to get rid of the evidence and play on the

audience’s assumption they really are empty.


Annemann’s three way out envelope

Bigger Fish

The confirmation principle

This principle I hope will change your entire thinking!

This principle came into existence after hating having

to ask volunteers to think of things and then revealing

them.

For example, if I was a real mind reader why would I

ask people to think of things? I would be telling

people what is already inside their mind.

So here was my solution to the problem.

If I was performing a routine where I wanted someone

to think of a name I would use this.

Address the subject, (for example sake the subject is

male).

Performer: “The thing I am sensing when I

look at you is that there are several

subconscious memories in the back of your

mind. I am receiving one more so than the

rest.

In this memory you are twelve or thirteen

and you are playing a game. I think this is a

game of hide and go seek and I see someone

else in the picture with you.

This is a best friend from school you know

who this is correct?”

Bigger Fish

This is a very clever way to ask someone to think of a

name. More importantly you are not just prompting

the subject to think of a name, when the subject says

“Yes” (confirming they know the person) from the

audience’s perspective, they are confirming that this

memory actually took place!

You are getting great hits before you have even started

the routine. Another plus this principle has, is that if

you asked someone to write the name down (so they

cannot deviate from the person you are seeing) people

believe you already know who the person is.

Therefore, the peeking process is never suspected and

there is no heat on the billet.

Why would anyone ever suspect you of needing to

peek something you already clearly know?

There is a difference in script when performing for a

female. Instead of saying you are twelve/thirteen and

playing hide and go seek. You say

“I am sensing that in this memory you are

seven or eight and you are playing jump

rope. There is also another person in this

memory, a best friend. You know who this

person is correct?”

If you wanted to get them to think of a place you could

use this.

Bigger Fish

Performer: “I am sensing that there is a

place in your mind that holds a lot of

emotional significance. This place you visited

when you were a child, you know where I am

talking about correct?”

Again ending with correct? ensures they have to give

you a yes or no answer. Essentially you are prompting

them to say yes.

This is only the tip of the iceberg with this principle.

I will give you an extreme use of this principle.

Use the confirmation principle to push someone

towards thinking of name (as described earlier).

Apply Peek (or data extraction method)

Address the subject,

Performer: “I don’t want you to smirk or

give anything away; I only want you when I

ask, to just answer yes or no, but only when I

ask.

I am going to use devious means to get you to

reveal the name.

Ok, I see travel, erm Spain. This person is a

singer, no an actor, it’s a male yes?”

Bigger Fish

{Say the last sentence fluently, not giving the subject

any chance to respond until you ask the question

about the sex of the person in question.

When the subject say’s yes, (just answering if the

person is male) as far as the audience are concerned

that is all the confirmation they need for the travel,

Spain and actor hits.}

You are creating hits where there are none.

So instead of asking for a name and then revealing it

this is what happens.

(From the perspective of the audience)

You have picked up on a memory, honed in on that

memory, told them the age they were in that memory,

told them what they were doing in the memory and

told them you see someone in the memory with them.

They confirm all this to be true, you then go on to give

them details of the person they are thinking of and

finish by revealing the name. The subject will be fully

shocked at the reveal, which will really sell the fact

you picked up on all of the other pieces of

information!

Sometimes restricting the subject talking can be as

important as letting them sing like a canary.

I will offer a simple experiment to try out on people.

This will prove just how effective changing the pretext

of a conversation can be.

Bigger Fish

{This is nothing more than a little test to show you

how the brain can controlled by pre-text.}

Say to a friend/partner (nonchalantly)

Performer: “Can I tell you a joke?”

Friend: “Go on then”.

Smirk like you know something they don’t

Performer: “What’s the difference between

a truck and a child’s bicycle?”

I will be willing to bet the answer will be

“I don’t know”.

By starting with the line about telling a joke, all logic

goes out of the window.

This shows you how one sentence can influence the

way someone answers. When you get your mind

around this, the possibilities are endless.

Bigger Fish

Seven bald keys

Effect

A female member of the audience is asked to stand.

The performer notices she is wearing a lovely looking

wedding ring.

This lady (we will call Amy) is asked if she is

comfortable being blindfolded, looking rather puzzled

the woman says she is fine with it and the performer

proceeds to blindfold her.

The performer explains that she is about to perform

an amazing feat based on instincts and she is going to

use her senses to accomplish this feat.

The performer tells Amy he is going to briefly borrow

her wedding ring. The performer removes the ring, it

is handed directly to a random member of the

audience (we will call him Sam) to inspect and

remembers the rings qualities.

Once the process of examining the ring is complete,

Sam is asked to approach a table and chairs (on the

stage) and take a seat. Sam’s attention is directed to

an open padlock on the table, he is instructed to place

the ring on the clasp and lock the padlock.

He is then asked to inspect the padlock and ensure it

is solidly locked (no trick locks). Amy is then led to the

table by the performer and seated also.

Bigger Fish

She is told that her ring is locked on a padlock in-front

of her and that she is going to locate the key that

opens that lock. Just shy of finishing his sentence the

performer removes seven pay envelopes from his

pocket and hands them to Sam.

He asks Sam to mix the envelopes as he desires and

then lay them out in a line in front of Amy. It is

explained to the pair that in each envelope there is a

different key; that Amy is going to try to mentally

receive which of the seven envelopes contains the key

that opens the padlock.

She cannot be aided by sight; everything is going to be

done based purely on feelings. She is asked to deduce

which envelope she believes contains the correct key.

She hovers her hands over each envelope, she never

touches them, is never prompted and she has

completely free choice of envelope.

She stops above one and says,

Amy: “I think it’s in this one!”

The other envelopes are opened by Sam one by one by

one and the six keys are tried in the padlock, none of

them open the padlock.

There is one envelope left in front of Amy (the one she

selected), the audience are addressed.

Performer: “In a moment if the key inside

this envelope opens the padlock give Amy a

Bigger Fish

massive, massive round of applause. If on the

other hand it doesn’t, boo me for making an

absolute muck up of things.”

The envelope is handed to Sam to open (the

performer never touches the key), the key is placed

into the lock and it opens!

The audience erupt into wild applause. Amy’s

blindfold is removed and she is handed back her ring.

Both subjects get seated to another round of applause.

Notes* the ring is inspected, the padlock is inspected,

each key is tried in the lock by the second subject

(Sam), the performer never swaps any keys and the

envelopes are not gimmicked in anyway.

Breakdown

You will need a few things for this effect, once you

have purchased these cheap items they will last you a

life time!

You will need

Two identical padlocks.

Six spare keys that open one of the padlocks.

Seven manila (or black) envelopes and

Two expensive looking dress rings.

Bigger Fish

{You can pick up cheap dress rings that look

expensive for next to nothing; just ensure the rings

look like the real deal}.

We are not going to swap any keys, I found this

illogical as that is where the entirety of the heat is.

Instead we are going to swap the lock out!

I know switching a lock out has already been touched

upon, but I have added several layers of deception

that will destroy any possibility of anyone ever

thinking the lock was swapped. That is what makes

this routine ultimately valuable.

To prepare, lock one of the rings onto the padlock that

has the seven keys (the key it came with and six

spares). It is important you lock the dress ring on the

correct padlock.

On the inside of your left jacket pocket place a folded

envelope, you will create what I call “A temporary

two out pocket”.

When you look in the pocket you will notice two

partitions.

The side closest to the opening of the pocket (and your

body) we will call pouch A, the other side we will call

B.

Place the prepared padlock into your two out pocket,

in side A. Leaving the ring hanging out of the pocket

(like the clip of the pen earlier on).

This will be important for switching the lock later.

Bigger Fish

Lay the other padlock (clasp open) on the table on the

stage. Place the key for this lock in your box (or

anywhere) other than your persons. You do not need

it during the routine.

Finger palm the duplicate dress ring in your right

hand.

The first stage is choosing a suitable candidate.

The only thing you are looking for in this routine is

someone with a ring on, don’t point out that this is

why you are looking for the subject.

{This will prematurely bring attention to the ring and

that is one thing we do not want}.

The wedding ring is found on the left hand (This

sounds patronising but it will make sense why I have

pointed this out in a moment).

When you have your suitable subject, ask them to

stand, take their name (we will stick with Amy as in

the description. Make sure the subject is comfortable

being blindfolded.

Blindfold the subject.

Take hold of the underneath of subject’s left wrist,

with your right hand (the hand containing the finger

palmed ring.

{The finger palmed dress ring is now hidden under

the subject’s wrist.}

Bigger Fish

Ask them if it is ok you borrow their ring briefly.

As you say the word ring, place two fingers from your

free hand (left) over the top of their ring. (So you are

covering the ring).

{It almost looks like you are taking the rings pulse.

If you have come across as warming, trust worthy and

an over all nice person, no request will be too big}.

The audience will not see the touch as anything out of

the ordinary, to them you are just clarifying by touch

(to a blinded person) what you want to use.

The real reason for placing your fingers on top of the

ring is to hide what it looks like to anyone in the near

vicinity.

When she says it is fine, which she most certainly will

not only because you are trusting but more

importantly she is blindfolded and she might as well

now she has started.

This is where we will employ a switch.

Let’s recap on our current positioning. Your right

hand is under the subject’s wrist containing a dress

ring; two of the fingers on your left hand are covering

the subjects ring.

Firstly loosen your grip on the subject’s wrist a little,

place your left hand around the ring.

Bigger Fish

Start to slide the ring off of the finger; when it gets

half way down the finger, simultaneously slide down

the right hand that was holding the wrist

As the ring pops off the end of the subject’s finger,

both your hands will meet.

(The left hand will be covering the right hand)

Let your right hand drop open displaying the dress

ring.

As you part your hands, drop your left hand to your

side retaining the subject’s ring in a finger palm and

simultaneously lift your right hand up and push your

ring into the Annemann billet grip.

(Hold the ring at the tips of the first and middle

finger)

Lift the right hand up, this will naturally be followed

by the attention of the audience and they will see a

ring at the tips of your fingers.

Don’t say anything; let the audience make the

assumption that it is the subject’s ring.

{Don’t be tempted to point out the fact it is the

subject’s ring, it is overkill. You are bringing

unnecessary heat to the ring; you want to create a

sense of naturalism.

The first subject (Amy) cannot see the ring therefore

she can never say it isn’t hers.}

Bigger Fish

Keeping the ring held up, approach a member of the

audience.

Performer: “You look like a trustworthy

character, hold your hands out sir”.

Turn your right hand (the hand holding the ring)

palm up, drop the ring into the subject’s open hands.

{This will suggest display your hands are empty

without having to say anything.}

Performer: “I’m Pete, what is your name

trustworthy looking sir?”

{This is a very social way to ask for the subject’s name,

it will create a small laugh but more importantly take

the attention away from the ring. The ring is an

important part of this routine but for now we want to

make it seem unimportant and as though we have not

started performing anything yet.}

Subject: “Hi Pete, I am Sam”.

{The response you get will often be more polite and

lengthy than them just responding their name. Try it,

it works!}

Performer: “Trustworthy Sam, please

inspect the ring, take in all its qualities and

most of all be very careful as it is very

important to Amy”.

Bigger Fish

{Note* I say the ring is very important to Amy, this is

a very subtle way to say the ring is Amy’s, at the same

time it puts to bed any worries Amy has, as it is clear I

care about the ring’s well being.

Sam, the audience and Amy now believe Sam is now

examining Amy’s ring.}

While Sam is examining the ring, walk back over to

Amy and address the audience while doing so.

Performer: “How many people by show of

hands, have heard that if we lose our sight,

our other senses after a short amount of time

heighten to the point they almost replace the

sight sense?”

{Of course people will have heard of this, but

something rather special should take place here, it is a

principle known as the hysteria of masses.

A few people will raise their hands, which will evoke

other members of the audience (who do not want to

appear stupid to their peers) to raise their hands also.

This is great to us; for all the people in the audience

who have not heard of this, it is confirmed true by a

portion of the audience. Again, we are using the

confirmation of a trust worthy source to our

advantage.}

While the audiences’ hands are in the air, the

audience will naturally be looking amongst

Bigger Fish

themselves to see who has their hands up and this

gives us the opportunity to place our hand in our

pocket briefly and dump the subjects ring.

Important note*

Ensure the pocket is empty; remember that this is

someone’s prized possession. I take no responsibility

for you losing or damaging the ring.

The scripting about the senses heightening is

strategically placed to play on the audiences’

assumptions.

They will assume because Amy has been blindfolded

for a while, her senses will be heightening.}

Ask Amy if she is ok.

{This just lets her know we have not forgotten about

her.}

Performer: “Sam, have you looked at the

ring?”

Sam: “Yeah”

Performer: “For sake of argument, if I took

that ring from you would you recognise it

again?”

{This line will seem unimportant now, but later this

will become very important.}

Sam: “Of course”.

Bigger Fish

Performer: “Ok, trustworthy Sam, can you

approach the table on the stage. (Pause for a

few seconds).

Wait Sam, I would like you imagine you are

invisible and try get to the table without

being seen”.

{This will create a laugh, which in my show is a very

important thing. It makes the experience a lot more

enjoyable for the audience. I am not saying act like a

clown but creating a relaxed atmosphere is very

important.}

One of two things will happen, one Sam will be a good

sport and literally try to stealth down to the table on

the stage (which happens more frequently than you

would imagine.)

If he does this make sure you get the audience to give

him a massive round of applause.

The other scenario is he will just stand there and wet

himself; (just kidding) he will look like he doesn’t

know what to do.

In this situation address him.

Performer: “I am only joking Sam”.


Performer: “It’s a very nerve wracking

experience getting up in front of all these

Bigger Fish

people, give Sam a round of applause for his

courage as he makes his way to the stage”.

This implies to him he is to start to make his way to

the stage. In either scenario we are conditioning the

audience to give a round of applause on cue. This is

another thing that will be important later.}

As you see Sam approaching the table, if the applause

is still going kill the applause.

{You are taking control of every aspect of the show,

which is important.}

Address Sam,

Performer: “You will notice upon the table

is a padlock, will you take Amy’s ring, lock it

on the Padlock and just double check it is

solidly locked. I know I said this earlier but

please be careful with Amy’s ring while doing

this”.

{I start to refer to the ring as Amy’s ring now but more

importantly I remind him to be careful. This subtly

suggests the ring is expensive and valuable.}

While he is doing this approach Amy, before taking

her arm address her (you do not want to shock her).

Performer: “Amy I am going to take your

arm and lead you to the stage”.

Bigger Fish

When you approach the table and chairs help Amy

take a seat and sit next to her.

{In writing it may seem like a lot of time has passed to

get the routine on its way, in performance trust me its

not.}

Address Amy,

Performer: “Amy, your ring is solidly

locked onto a padlock in front of you and in

my pocket I have seven envelopes each

containing a key”.

Remove the envelopes.

Performer: “One of these envelopes contains

the key that opens that padlock. Sam can you

give these envelopes a mix please”.

Hand the envelopes to Sam.

When he is done mixing them instruct him to lay

them in a line in front of Amy.

Take hold of Amy’s wrist and hover her hand over the

first envelope.

Instruct Sam to take Amy’s wrist and hover it over

each envelope for a couple of seconds.

Address Amy.

Bigger Fish

Performer: “Amy, Sam is going to hover

your hand over each envelope in turn; I want

you to say now over the top of two envelopes

you believe may contain the key that opens

the padlock

Nod if you understand Amy”.

{This will ensure she understands she is to select two

envelopes.}

Let her select the two envelopes and when she has,

ask Sam to collect the rest up and open them one by

one and try them in the lock.

None of them open the lock, address Amy.

Performer: “You have done fantastic so far

Amy; you have successfully eliminated five

keys. In front of you on the table there are the

two envelopes that you selected and inside

one of them envelopes there is the key that

unlocks your ring”.


Performer: “In a few seconds Amy is going

to select the envelope she believes has the key

is inside. The envelope she does not choose

will be opened and if that key does not open

the padlock I want you to give Amy a massive

Bigger Fish

round of applause to let her know she has

successfully chosen the envelope with the

correct key inside”.

Both of Amy’s arms are positioned over an envelope,

address her.

Performer: “Amy, you hands are positioned

over two envelopes. You are going to get five

seconds of complete silence to make a

decision. After the five seconds have passed I

want you to pick up the envelope you believe

contains the key that opens the lock.

When you have done this, the envelope that is

left upon the table will be picked up and if the

key inside that envelope does not open the

lock, that tells us you are holding the key that

does”.


Performer: “Remember if the key does not

open the lock we want a round of applause to

let Amy know she is holding the correct

envelope.

We will give her five seconds of complete

silence starting now”.

Bigger Fish

Hold your hand up displaying five fingers, as each

second passes drop a finger.

After the five seconds pass, tell Amy to make a

decision.

(She can choose any).

She will leave one envelope on the table, instruct Sam

to pick that envelope up and try it in the lock.

When he has tried it and it wont open, you may get a

staggered round of applause from the audience. This

is exactly what we are looking for, take the lock off of

Sam with the key and hold it above your head as

though to demonstrate largely it will not open.

Cut the round of applause, pull the key out and throw

it on the floor.

Execute this while walking toward the audience.


Performer: “I know what some of you are

thinking, maybe we are being lied to, maybe

all the keys don’t fit the padlock and you

would be entitled to think that”.

Here is where we will switch the lock.

Bigger Fish

The switch

Hold the lock between the thumb and forefinger.

Place the lock into compartment B of the two out

pocket.

Release the grip of the thumb and forefinger, while

simultaneously putting the tip of the middle finger

into the ring in compartment A.

Move the thumb to middle finger and pull out the

duplicate lock and ring.

The move needs to be performed nonchalantly; openly

perform the pocket switch. After the switch is

complete, pull a confused face. This will portray that

you are wondering why you went to put the lock into

your pocket in the first place.

Address Sam,

Performer: “Sam bring the envelope Amy is

holding over here and come and take a hold

of Amy’s ring”.

{Note I never asked Sam to take the padlock, I told

him to take Amy’s ring. This subtly suggests to the

audience there is no way the lock could have been

changed as Amy’s ring is solidly locked onto it.

This layer of deception is beautiful as far as logic goes.

The ring on the lock is the only thing we ever need to

convince even the smartest thinkers that there is no

Bigger Fish

way the lock could be swapped. I mean come on; there

is only one of Amy’s ring right?

Address Sam,

Performer: “Open the envelope, remove the

key and insert it into the lock but do not turn

it”.

Wait a few seconds for him to complete the

Instructions. Address the audience,

Performer: “I want you all to be as quiet as

a mouse, Sam is going to turn the lock and I

want to be able to hear it open.

If the key does open the lock, that proves that

against all odds Amy has located the key and

that does deserve a massive round of

applause.

On the other hand if the lock does not open,

boo me for making a complete mess of

things”.

Address Sam,

Performer: “Unlock it when I say Sam”.

Wait for the room to become silent, after a few

seconds of silence nod at Sam.

Bigger Fish

{Do not say anything this will break the silence we

have created and that is one thing we do not want.}

As soon as you here the lock click, cue the audience

for applause. Take ring and lock off of Sam and show

them off (one in each hand).

Ask Sam to return to his seat during the applause.

Place the lock and ring in your right trouser pocket,

while you are in the pocket ditch the lock and dress

ring and remove Amy’s ring.

Approach Amy, remove her blindfold and address her.

Performer: “Amy you did fantastic, you

have most certainly been the star of tonight’s

show”.


Performer: “I am going to help Amy back to

her seat as she may be a little disorientated,

give her a round of applause for being so

wonderful!”

As you are leading Amy to her seat, use Dunninger’s

ploy and under the guise of the applause hand her the

ring and make sure she is ok.

Bigger Fish

Performance


Performer: “The story I am about to tell you

is very much true. This is the tale of a little

girl named Lilly. Right from birth Lilly had a

hard life, losing her mother and being

unfortunate to be born blind.

From day one she had to rely on her other

senses as an aid to survival. Raised by her

father a rich doctor, who she loved dearly,

she had a happy childhood.

During her early teenage years Lilly

developed a strange connection with a family

air-loom, a pocket watch that had been

handed down the family from generation to

generation.

Frequently her father took the watch from

her and hid it in the most obscure places

around the house to ensure its well being and

Lilly always managed to find it.

It became than much of an annoyance to

Lilly’s father that one day he locked the watch

in his safe.

Bigger Fish

The watch stayed in the safe for many years

and when Lilly’s father was on his death bed

he beckoned Lilly to his side and took her

hand.

Lilly instantly felt her father’s touch was cold

and she knew his hand contained the watch.

He spoke to her softly,

“Look after this watch Lilly; it has been in the

family for such a long time.

Please do not miss me when I have gone,

whenever you hold that watch in your hand

you will always know I am close by...I love

you Lilly”.

With that he took his final breath and fell into

a long sleep.

Lilly wept for several days and whenever she

clutched the watch tight she got the sense her

father was watching her. Over the next few

years whenever Lilly felt down she clutched

the watch and the sad emotions disappeared.

One day while Lilly was out, an opportunist

broke into the house stealing several antique

Bigger Fish

items; amongst the items were the watch.

Lilly was distraught.

Every night for several weeks when Lilly

slept she kept getting an overwhelming urge

to visit Paris. One night the urges got so

strong that she was awakened and she knew

what she had to do. She had to indulge the

urge. Being a wealthy young woman, she

booked the flight and arrived in Paris several

hours later.

Leaving the airport, she followed her

instincts and after fifteen minutes of walking

led by her intuition alone she was led to a

small shop. She entered the shop, instantly

being attacked by a musky smell.

This did not bother her, her mind started to

race as she was lead by an apparent force

through the store. Winding up and down the

aisles she stopped in the corner of the store.

Her hand became animated and delved into a

box of its own accord. It started to rummage

through the mounds of junk in the box until it

suddenly stopped.

Her fingers started to wander slowly like a

creeping spider. Until they touched upon a

Bigger Fish

cold, circular metallic object. The moment her

fingers touched the watch she instantly felt

her father’s presence.

Out of every country in the world, every

single shop in that country and out of every

inch of that shop she was led to the watch!

We will never know if it was the connection

Lilly had with the watch or her father’s

presence that made her able against all odds

to track it down.

It is in my belief that it was the strongest of

all emotions that led her to the watch.

Love.

I would like to demonstrate my findings.

You madam, would you mind helping me out

for a few moments?”

Subject: “Ok”.

Performer: “Hi I am Pete, What is your

name?”

Subject: “Amy”.

Bigger Fish

Performer: “Hi Amy, I am going to

blindfold you for just a few moments if that is

ok?”

Amy: “No Problems”.

Blindfold Amy.

Performer: “Amy, I promise you I will not

do anything untoward. This is all about trust.

May I borrow your ring?”

Amy: “Sure”.

(Perform ring swap)

Approach a random male member of the audience.

Performer: “You look like a trustworthy

character, hold your hands out sir”.

Performer: “I’m Pete, what is your name

trustworthy

Subject: “Hi Pete, I am Sam”.

Performer: “Trustworthy Sam, please

inspect the ring, take in all its qualities and

most of all be very careful as it is very

important to Amy”.

Performer: “How many people by show of

hands, have heard that if we lose our sight,

Bigger Fish

our other senses after a short amount of time

heighten to the point they almost replace the

sight sense?”

Wait for the audience’s response.

Performer: “Are you ok Amy?”

Amy: “Yeah I am fine”.

Performer: “Sam, have you looked at the

ring?”

Sam: “Yeah”

Performer: “For the sake of argument, if I

took that ring from you, would you recognise

it again?”

Sam: “Of course”.

Performer: “Ok, trustworthy Sam, can you

approach the table on the stage. (Pause for a

few seconds).

Wait Sam, I would like you imagine you are

invisible and try get to the table without

being seen”.

One of two things can happen here.

Bigger Fish

Performer: I am only joking Sam, its a very

nerve wracking experience getting up in front

of all these people give him a round of

applause for his courage as he makes his way

to the stage”.

When Sam reaches the stage the performer addresses

him.

Performer: “You will notice upon the table

is a padlock, will you take Amy’s ring and

lock it on the Padlock and just double check it

is solidly locked. I know I said this earlier but

please be careful with the ring while doing

this”.

Performer: “Amy I am going to take your

arm and lead you to the stage”.

Help Amy take a seat.

Performer: “Amy, your ring is solidly

locked onto a padlock in front of you and in

my pocket I have seven envelopes each

containing a key”.

Remove the envelopes.

Performer: “One of these envelopes contains

the key that opens that padlock. Sam can you

give these envelopes a mix please”.

Bigger Fish

Hand the envelopes to Sam and let him mix them.

Performer: “I would like you to lay them

out in a line in front of Amy for me”.

The performer waits till Sam lays the envelopes out

and then takes hold of Amy’s wrist and hovers it over

the first envelope in the succession.

Performer: “Sam, I would like you to take

hold of Amy’s wrist and hover it from

envelope to envelope”.

The performer addresses Amy.

Performer: “Amy, Sam is going to hover

your hand over each envelope in turn; I want

you to say now over the top of two envelopes

you believe may contain the key that opens

the padlock. Nod if you understand Amy”.

Amy selects two envelopes and the other five are

collected and handed to Sam.

Performer: “Sam, take the keys one at a

time out of each envelope and try them in the

lock”.

None of the keys fit.

Performer: “You have done fantastic so far

Amy; you have successfully eliminated five

Bigger Fish

keys. In front of you on the table there are the

two envelopes and inside one of the envelopes

there is the key that unlocks your ring”.

The performer addresses the audience.

Performer: “In a few seconds Amy is going

to select the envelope she believes has the key

is inside. The envelope she does not choose

will be opened and if that key does not open

the padlock I want you to give Amy a massive

round of applause to let her know she has

successfully chosen the correct envelope”.

Both of Amy’s arms are positioned over an envelope,

address her.

Performer: “Amy, you hands are positioned

over two envelopes. You are going to get five

seconds of complete silence to make a

decision. After the five seconds have passed I

want you to pick up the envelope you believe

contains the key that opens the lock.


When you have done this, the envelope that is

left upon the table will be picked up and if the

key inside it does not open the lock that tells

us you are holding the key that does”.

Bigger Fish


Performer: “Remember if the key does not

open the lock we want a round of applause to

let Amy know she is holding the correct

envelope.

We will give her five seconds of silence

starting now”.

The performer holds his hand up displaying five

fingers, as each second passes he drops a finger.

Performer: “Go with your instincts Amy

select one”.

The envelope she does not choose is opened and the

key is tried in the lock to prove it does not fit.

The audience applaud.

Cut the applause short and addresses the audience,

Performer: “I know what some of you are

thinking, maybe we are being lied to, maybe

all the keys don’t fit the padlock and you

would be entitled to think that”.

Switch the lock.

The performer addresses Sam,

Bigger Fish

Performer: “Open the envelope, remove the

key and insert it into the lock but do not turn

it”.

The performer waits a few seconds for him to

complete the Instructions.

The performer then addresses the audience,

Performer: “I want you all to be as quiet as

a mouse, Sam is going to turn the lock and I

want to be able to hear it open.

If the key does open the lock, that proves that

against all odds Amy has located the key and

that does deserve a massive round of

applause.

On the other hand if the lock does not open,

boo me for making a pig’s ear out of things”.

Address Sam,

Performer: “Unlock it when I say Sam”.

The room goes completely silent.

Lock: “CLICK!”

The audience go mad, Sam returns to his seat.

Ditch dummy ring.

Remove Amy’s blindfold and addresses her.

Bigger Fish

Performer: “Amy you did fantastic, you

have most certainly been the star of tonight’s

show”.


Performer: “I am going to help Amy back to

her seat as she may be a little disorientated,

give her a round of applause for being so

wonderful!”


Annemann - Seven keys to the bald plate

Henry Fetsch - Jinx nº34

Pablo Amira - Intuition key

Bigger Fish

Pray proceed

This is very simple but so direct. This is about 95%

accurate and is a lovely little lead into any

psychological type routine.

Effect


Performer: “When I was a child, I was

fascinated by Sherlock Holmes. I loved the

way he could be looking into a book, when a

client arrived and as they walked into the

room he would command them to stop.

They would stop dead and he would tell them

without ever looking up or facing them that

they should come no further. They would

stand looking puzzled for a few seconds and

while continuing to read Sherlock would tell

them that they are going to mucky the freshly

washed rugs.

The client would look down at his boots and

then ask Holmes how he knew they were

muddy without ever looking up. Sherlock

ignoring the question would peer over the top

of the book and ask the client how the

orchard is blossoming at this time of year.

Bigger Fish

Looking white as a ghost the client would

reply (often stuttering) how in the world did

you know I had just come from there?

Holmes would pause for a few seconds and

then respond that it was all elementary.

Standing up sharply Holmes would explain

that as soon as the door opened he got a

strong smell of mildew and bramble vine.

He proceeded to say that those smells only

emit from trees, trees that only grow in the

orchard and because of the lousy weather

over the last couple of days, he came to the

deduction the orchard would be muddy.

He smiled with content at how he had

correctly put two and two together and

would proceed to ask the client what they

needed.

When I realised Sherlock Holmes was a

fictional character I was devastated. None

the less I decided that just because he was not

a real character did not mean I couldn’t

adore his traits”.

Bigger Fish

The performer then points to three members of the

audience and asks them to stand. (This could be any

number).

When they start to stand the performer turns so his

back is facing the three subjects.

He asks them their names and they respond

He instantly (without ever having to look) tells each

one of the subject which hand they use to write with.

Notes* they never write anything down; you never ask

them and no instant stooges.

You don’t have to have met the subjects before and

they are never subjected to any tests.

Breakdown

The method for this is ultra simple and is something

that is totally overlooked.

The method is the subject’s watch.

If the subject wears the watch on the Left wrist, they

are Right handed. If they wear it on the Right wrist

they are Left handed.

All you need to do is look around the audience see

who is wearing a watch and then ask them to stand.

It’s always nice to pick two left handed people. This

will blow out any theories that it was just luck.

Bigger Fish

Additional notes

While I know revealing methods to an audience is

usually frowned upon, in this situation I think it

serves a very strong purpose.

It gives the audience a visual pseudo explanation. It

aids in implying (without saying) this is how

everything I do is performed.

Credits/ Influences

Sir Arthur Conan Doyle

Sherlock Holmes

Bigger Fish

Get busy living or get busy

dying

This plays out beautifully; it has become a favourite of

mine and still makes me smile whenever I perform it.

It plays out exactly as described and is practically self

working

Effect

Five subjects are selected entirely at random and are

invited to join performer on stage. The performer then

displays five cards, four that say living on and a fifth

that says dead.

These are displayed openly, handed out for

examination and mixed facedown by any random

audience member. The cards are then distributed to

the five members on the stage.

(The performer never touches the cards).

It is explained to the five volunteers that they are to

peek at the card they have and the only thing they are

to do, is remember if they are thinking of a living or a

dead card.

The cards are handed down towards the end of the

five volunteers and placed onto the floor (facedown).

(The performer never goes near the cards).

Bigger Fish

The performer explains that by using his powers of

deduction, he is going to determine who is thinking of

a living card and who is thinking of dead.

After a few seconds of looking up and down the group,

the performer points to a subject and exclaims that

she looks too happy to be thinking of a dead person

and asks her to return to her seat if she is thinking of a

living person.

(She returns to the audience).

The performer then addresses the female he just sent

back to the audience,

Performer: “I am not asking you to think of

anything now; I just want you to answer

honestly, when you were on stage you were

not thinking of anything in-particular

correct”.

Subject #1: “No”.

The performer then addresses the audience,

Performer: “The reason I asked this, is that

I wanted to point out something incredible

thing about the human mind. Sometimes

when given a small nonchalant piece of

information, we often take that information

and give it relevance.

Bigger Fish

For example, if I was to mention the word

cold, you might think of a recent trip you

took and the weather there was freezing. You

might go as far as to remember going to the

top of the Eiffel tower and remember the frost

set across the cityscape”

The performer reiterates the fairness of events thus

far.

The performer addresses a subject,

Performer: “There is no way I could know

what you are thinking about?”

She confirms that there is no possibility.

The performer proceeds down the line of subjects and

suddenly doubles back.

Performer: “I don’t know why I am getting

this sense from you, but it’s almost as though

you are repeating a name over and over in

your mind as not to forget it”.

She looks bemused at this point.

Performer: Would the name be Steve?”

Subject: “yeah!” (She is completely shocked)

You are thinking of a living person take a seat.

Bigger Fish

(She returns to her seat in the audience, to a round of

applause).

He asks the three remaining subjects to stand.

The performer looks confused and claims it is very

difficult from this point to work out who has got what.

He proposes to go back to old tried and tested means

of finding another person thinking of a living card.

He plays eeny, meeny, miny, moe and when his finger lands on the last person he say,

Performer: “Are you thinking of a living person?”

Much to the amusement of the audience he is!

Two subjects are now remaining (we will call one

Mary and the other John)


Performer: “I want you to relax, drop your

eyes down for me and say nothing out loud

while I make some notes”.

The performer picks up a whiteboard (or large pad)

and faces it towards the audience.

Looking from subject to subject he starts to smirk.

The performer draws an arrow pointing to Mary, rubs

it out and then writes,

Bigger Fish

“Childhood memory” (rubs it out).

“Wooded park” (rubs it out)

“Lost puppy” (Rubs it out)

“RUSTY?” (Pauses a few seconds and rubs it out).

He looks at the audience and shrugs.

The performer stands behind the subjects reminding

them to keep their eyes closed and heads facing

forwards.

He points over the top of the subject on the left (Mary)

proclaiming,

Performer: “I think this person is thinking

of living”.

The performer then points to the subject on the right

(John)

Performer: “This person is thinking of

dead”.

(Points left, “Living”, point’s right, “Dead”).


Performer: “If I am correct about who is

thinking of what, let these two know by a

loud round of applause”.

The performer addresses Mary and john

Bigger Fish

Performer: “In a moment if you hear a

round of applause that will be your cue to

take a seat back in the audience. If on the

other hand I do not get this right and I have

screwed it up, the audience will boo me. This

will be your cue to point and laugh!

Can the person thinking of living person raise

their arm in the air so everyone knows which

of you it is?”

Mary raises her arm and the audience applaud

vigorously.

Both subjects start to return to their seat, the

performer cuts the applause short (with a confused

look on his face).

Performer: “Mary, yes or no, in your

memory have you been thinking of a dog?”

Mary: “Yes”.

Performer: “Ok...What was that dog

called?”

Mary: “Rusty”.

The audience will be dumfounded!

This confirms that the performer had picked up on the

subconscious thoughts of a random subject and was

100% correct!

Bigger Fish

Notes* No preshow, none of them ever writes

anything down, the performer never touches any of

the cards and every subject is selected at complete

random!

Breakdown

This effect is ultra simple and employs a simple

switch. This is the pad switch; it’s very easy to perform

but makes complete logical sense in performance.

You will need:

Ten business cards (separate these into two piles of

five)

Take one of the piles of business cards, on four of

them the word living and on the final card the word

dead.

The other five (we will call the prepped stack) are

prepared slightly differently.

On two cards write the word living, one card the

word dead.

Prepare one of the final two cards:

Think of a living person named Steve.

And on the final card write:

Think of a living dog named Rusty.

Bigger Fish

You may be reading this and thinking !?!?!? right now,

but I promise everyone will get an effect and be

completely shocked!

You will also need a notepad gaffed so that the cover

on both sides is the same.

I use a spiral bound pad as the covers are easy to

remove.

Firstly let’s take a look at where the difference in effect

lies for all parties involved.

For two people (prompted) on stage, this is similar to

the four white balls and one black ball routine (max

maven kurotsuke). As they believe your only job is to

discover who is holding what card, why wouldn’t they

be impressed when you correctly nail it?

The audience will see so much more and you have

gone above and beyond the balls routine.

To the three volunteers on stage (none prompted),

they see what the audience sees and are used as pawns

(or props) for the greater game. They will always be

really shocked and help sell that everything is fair.

I will outline the switch, it is essentially very simple.

Take the five prepared cards and arrange them in this

order,

The Steve card, dead, living, Rusty and living.

Remember this order this is essential.

Bigger Fish

Open the pad, place the stack face down and then

close it. Flip the pad over and lay it down this side up

(in the near vicinity).

Invite five random volunteers to join you on stage.

When the subjects are seated behind you, proceed to

bring out the un-prepped cards.

Performer: “You will notice only one of

these cards say the word dead on”.

You need not say more than that about them, just

openly display them one at a time so the audience can

clearly see each one in turn.

{This is very important, when the subjects receive the

cards they will never question anything, it stops what

I call a psychological buckle. Another thing to note

here, is that sometimes saying nothing at all, can be

just as important as saying everything.}

Hand the stack of cards to a random audience

member; ask him to mix them facedown until even he

does not know the order.

This is where we will employ a switch; the idea is to

create logic for using the pad.

This is the excuse I use.

After the audience member has examined and

shuffled the cards face down proclaim you will get him

an envelope to drop the cards into as you don’t want

to touch them.

Bigger Fish

Check your pockets for an envelope with no success.

Look around and grab the book opening the front

cover.

Keep the book at the finger tips.

Performer: “Drop in the cards facedown for

me”.

Close the book and bring it towards your body, as you

turn toward the subjects flip the book over (the move

is hidden from the audience by your body).

Do this very openly and the subjects will never think

anything of it.

Walk towards the first subject in the row (the

volunteer on the far left).

Open the cover (revealing the prepped stack) and ask

the subject to take a card from the top of the stack

keeping it facedown at all times.

Repeat for the other four subjects.

We know that the first person (far left) is thinking of

living, the second Rusty, third living, fourth dead and

fifth Steve.

The majority of the work is now done.

This is where we work some verbal’s.

Bigger Fish

Performer: “I would like each of you to peak

at the card you have, making sure your peers

cannot see it and just memorize it. When

you have done this pass the cards down

toward the end, keeping them facedown at all

times.

When they reach the end please place them

facedown on the floor”.

When this task is complete, explain to the audience

about your skills of deduction (It is always nice to use

the ‘pray proceed’ on the seated subjects). This early

on in the game all you need to explain is that you are

just going to deduce what each subject is thinking of.

Look up and down the line of subjects and point to the

women in the middle, let her know she is too happy to

be thinking of a dead person and send her to back to

her seat in the audience.

After she has just about reached her seat call her.

Performer: “I am not asking to think of

anything now; I just want you to answer

honestly, when you were on stage you were

not thinking of anything in-particular

correct”.

Subject #1: “No”.

Bigger Fish

{If she says she was thinking of something excellent,

this is even better!

Ask her what it was she was thinking of, let her tell

you and finally ask her why. Try to get her to

emphasise she was thinking freely and was not led

there.

This is great for us as it confirms what we are about to

say.}

Addresses the audience,

Performer: “The reason I asked this, is that

I wanted to point out something incredible

thing about the human mind. Sometimes

when given a small nonchalant piece of

information, we often take that information

and give it relevance.

For example, if I was to mention the word

cold, you might think of a recent trip you

took and the weather there was freezing. You

might go as far as to remember going to the

top of the Eiffel tower and remember the frost

set across the cityscape.

Two things are going to happen at this point;

these volunteers will purposely start smiling

to throw me off and each one of you will start

to think of random thoughts.

Bigger Fish

It’s completely natural”.

{I once performed this routine and the standing subject freaked out and asked how I knew she had been to Paris!

It’s safe to say luck sometimes plays a big part in

mentalism.}

Cont** Get busy living or get busy dying.

Much to the audience’s delight the onstage subjects

will either start smiling or make ridiculously obvious

attempts to hide a smile.

The more important subtlety here is that we have

suggested to the audience the subjects will now be

thinking of random thoughts.

Start to look up and down the subjects, cheekily

remind them how the cards were mixed randomly and

then address one of the subjects and get her to

confirm there is no way anyone could know what she

is thinking of.

Place your hand above each subjects head in turn (this

gives the audience a visible process), after you have

done this to the person thinking of Steve (just as you

are about to go to the next subject) double back.

Performer: “It’s almost like you are

repeating a persons name in your mind over

and over as though not to forget it, you are

thinking of a name correct?”

Bigger Fish

{Say it nonchalantly, she can only respond yes. More

importantly, from the audience’s perspective she has

confirmed that she was in-fact repeating a name in

her mind. (The confirmation principle)}

Performer: “This person is a creative

person, a celebrity... an actor, it’s a male

yes?”

{This is where we use the confirmation principle. She

answers yes to the question about whether the person

is male.

From the audience’s perspective she confirms she is

thinking of a celebrity.

Because she was prompted a name she believes the

pre-script to be you telling her what the person she is

thinking of does.

Bob Cassidy gave me an excellent thought, use

celebrities in living and dead tests as not to upset

anyone.

This got me thinking and I changed the concept a

little.

If I have her confirm she is thinking of someone called

Steve, her husband (or partner) may think she is

thinking of another man and almost prompts him to

question her.

If I Say it is a celebrity, no one has any reason to ask

her why she thought of a celebrity.

Bigger Fish

I would suggest using well known names like Orlando

(Orlando Bloom), or something that doesn’t give the

urge or need to ask why she was thinking that.

Thanks Bob!}

It’s time to kill two birds with one stone. The name

and card reveal. I am a massive fan of consistency so I

introduce my drawing pad.

I write,

You are thinking of a living card. Steve?

I hand the subject the pad facedown and ask her to

state the name aloud she is thinking of.

She will obviously say Steve.

I ask her to reveal what’s on the pad, the audience will

freak out and simultaneously she will be shocked (as

in her eyes you correctly guessed the card she peeked

at.

{If you don’t think she will act shocked, people still

freak out at pick a card tricks when the card is

revealed, trust me she will sell the effect for you.}

Ask her to return to her seat.

You are now left with three subjects.

For now we will call them,

Dead, Rusty and living.

Bigger Fish

Ask the subjects to stand and move closer together.

It is time to employ the eeny, meeny, miny, moe phase

of the routine.

We know that the last person in the three is thinking

of living, we want to make sure it ends on him.

Start by counting from him

I will try explaining the rhyme process,

Living dead Rusty

“Eeny meeny miny

moe catcha tiger

Bythe toe ifit

screams letit go

eeny meeny miny

moe”.

As you say each word you point to the next subject.

You can see the words end on the last living person.

State as you land on that person (directly after saying

moe).

Performer: “If you are thinking of a living

person, return to the audience”.

We are now down to two subjects; this is where things

get a little more interesting.

Bigger Fish

I ask the subjects to take a seat and close their eyes.

I place my hands over their heads again (creation of

consistency).

After passing my hands over their heads a few times I

stand in front of the subject thinking of rusty and

draw an arrow on the pad pointing to her.

I ask them to ensure they keep their eyes tightly shut.

I write Wooded Park, ensuring the audience have

seen it, flip the page, found a lost dog, flip the page

and write “Rusty?”

I look confused at this point and if I am with a

particularly friendly audience, I will swirl my fingers

near my head (as though to point out the female is

crazy).

I will get a little laugh from this.

Stand behind the subjects and point out which is

thinking of living and which is thinking of dead.

Tell the audience to applaud you if you are correct.

This bit is standard play.

When you have received the applause and the two

subjects are on the way to their seats in the audience,

stop the person (Mary) thinking of Rusty.

Performer: “Mary, Yes or no in your

memory have you been thinking of a dog?”

Bigger Fish

Mary: “Yes”.

Performer: “Ok...What was that dog

called?”

Mary: “Rusty”.

If the audience applaud at this point, it should seem

very normal for Mary as she will believe they are

applauding you for correctly predicted what was

written on her card in full detail. She will share their

enthusiasm and then is asked to take a seat.


Anneman – Living and dead test

Bob Cassidy- Additional thoughts

Bigger Fish

My thoughts - Participants

as props

This is not an essay, just something I think about

frequently when creating. I hope these thoughts aid

you.

Picture this scenario,

We have just selected a random member of the

audience via the toss of a paper ball. No matter how

trustworthy you seem as a performer, the audience

will always believe the word of this randomly selected

participant (as they themselves could just have easily

been chosen).

This kind of defeats the age old saying, “don’t trust

a stranger”.

For example, if I was to inform the audience that five

envelopes, contained five different playing cards and

never verified that to be true via the audience, there

might be a slight amount of doubt in the audience

members minds. If on the other hand I have the

randomly selected participant verify the contents of

the five envelopes to be different, because of the

selection process the audience will be inclined to

believe the envelopes are in-fact different.

If I can somehow convince the participant that the

contents of the envelopes are different, when they are

Bigger Fish

not, what I have accomplished is a successful use of

using the subject as a prop.

Now I know this is not new in thinking, I think it is

one of the strongest tools available to any mentalist.

The point I am trying to press is that any opportunity

you get to use a participant as prop, take it.

This thinking is especially good when applied to dual

reality wherein 90% of the effects performed use the

‘participant as a prop’ principle.

In this book you will find several different ways to use

‘the participant as a prop’ principle. For point of

reference I will outline several.

A.W.A.A.P

Having the subject call out the phone number and

then handing him the telephone to type the number

ensures that the audience believe that is the number

getting dialled.

Then having the other subject call the information out

(so it cannot be miscalled) which logically seems fair.

In reality he is calling out information prearranged

with a friend of ours. This little subtlety of using the

subject to do the dirty work for you really helps plays

on the audience’s natural assumptions.

Bigger Fish

A bonus lead in A.W.A.A.P

The five cards sealed inside the envelopes, we have the

subject confirm they are different, when in-fact they

are not.

Seven bald keys

Asking the blindfolded participant how valuable her

ring is and the line about probability we convince the

audience that there can only be one ring.

Handing a dummy ring to the second subject and then

asking him to remember the rings qualities. This ploy

serves us well later on in the routine (when we switch

out the lock). Because the subject never cries foul

(when he is handed the lock back) the audience will

never suspect foul play.

Get busy living or get busy dying

It is used several times in this effect; the earliest use is

the first subject who gets sent back to her seat. We use

her to convince the audience that the cards just say

the word living on.

Then there is the person thinking of a name (the one

we prompted her), I mention it is a celebrity, an actor

and then I ask her to confirm it’s a male.

Her confirmation helps sell the fact that she really is

thinking of a celebrity.

(We also completely confirm this when we reveal the

name).

Bigger Fish

Then the last subject, (who we also prompted) she has

her eyes closed and we write about a childhood

memory on the pad/board. I never mention anything

to her at all about this at the time. I let her get to her

seat and ask her to confirm the name (which is again

using her as a prop to confirm the memory is true).

Trust you instincts 2.0

This is another lovely use of the participant as a prop.

After the first subject has been forced a card, the

second subject is asked if there is anyway he could

know the identity of the card. Now in this instance he

really doesn’t know what the card is, but the question

is an essential leverage to prise a reaction out of the

first subject when the second subject finds it.

Additional thoughts

Of course there are many more contained within this

book, it is essential you apply this principle subtly and

with tact. If you make a massive issue of doing this it

can be come very apparent what is going on and that

is the last thing we want.

S.L.I.M

(Sometimes, less IS more!)

Bigger Fish

What’s on your mind?

I thought I would finish this piece of literature by

addressing an issue that means a lot to me. You will

have noticed that I called this book ‘Bigger Fish’. As

explained in the forward I did this to honour the

moments of wonder that ‘Big Fish’ (the film) evoked

within me. Moments I will carry with me for the rest

of my life and I would like to share a few things I hope

you will carry with you for the rest of your life.

It’s a very strange thing to talk about time, to talk

about how moments can last for a life time. While I

know theoretically a moment cannot last for a lifetime

and on paper it seems silly, in practice I can tell you,

that is very much what can and does happen.

You may not be aware of the power you have at your

very own fingertips, I am not talking about a

supernatural ability, more of an ability you have that

you may have overlooked. A power that once you get

your head around will really make you appreciate

what you do.

To explain this is the most logical sense I can, I will

create a scenario.

This is a fictitious scenario, none the less it could

easily be real.

You are performing and as you scan your eyes over

your possible audience (in a restaurant or bar) you

come across a couple.

Bigger Fish

You introduce yourself, become social with the couple

and find out that the couple have been dating for

several months. You propose to try an experiment

with the pair. They anxiously agree and you proceed

to remove 10 E.S.P cards.

You separate the cards into two piles. Each pile

containing a Star, Square, Circle, Wavy Lines and

Cross.

You explain the relevance of the cards and explain

that they are used to test all manner of connection

between two people.

They are handed a pile each and are both asked to

make decisions as though they were the other person.

They are directed to place one card facedown that they

believe the other will choose.

After a slight pause and a moment of silence both

cards are turned over and they match!

This is repeated for the other four cards and they are

turned over one at a time to find these also match.

It is then explained to the couple that are perfectly in

sync and the cards never lie. The odds of the cards

matching like that are astronomically against them,

yet they have defied probability and that without

shadow of a doubt, this proves that they are meant to

be together.

The performer leaves and never sees the couple again;

he is happy that the performance went well and moves

Bigger Fish

on to a new set of subjects, oblivious to what he has

created.

What has he created?

When we have a look at what happens to the couple

after the performance, we really start to get a sense of

the things we are playing with.

The couple leave the establishment and cannot believe

what has just happened. They have just witnessed

visual proof of how perfect they are together and for

days they will tell everyone about their wonderful

experience.

They see what happened as more than just an effect;

they take what happened as the push over the edge

they needed to take things to the next step.

They are perfect together, they were told so by the

mystery man and the proof was laid out in front of

them on the table.

They take the plunge and move in together; they get

married, have a child and they spend the rest of their

lives together.

Do you think they will ever forget the moment the

performer created?

The obvious answer is no!

When you think of the above scenario (which is very

possible) you can see just how life changing the things

you are doing can be. When you look at things from

Bigger Fish

this perspective you will really appreciate what you

have.

You are creating moments that make the hair stand

up on the back of people’s necks, their eyes water and

scarring them (in a good way for the rest of their

lives).

It is in this moment that you will realise just what it is

that you have to offer. So rather than tell you what you

are doing wrong or what you should be doing, I’m just

asking you to appreciate the things you are already

doing.

As each one of you (individually) has something very

special and very different to offer than the next

performer.

I too did not fully understand the power I had at my

finger tips until watching ‘Big Fish’ and it changed

my outlook on everything. Since then I can honestly

say I am a million times better a performer than I was

before.

I hope you have found something useful from within

this book and I really do appreciate from the bottom

of my heart the time that you have taken to read the

thoughts I have to offer.

Aim as high as you can and always remember that

“The biggest fish in the pond gets that way by never

being caught” – (Edward Bloom)

Bigger Fish

Special Thanks

I would firstly like to thank a great friend of

mine ‘David Sena’. Thank you David for all

of your help over the last few months. If it

wasn’t for you this book would not be in

existence now.

You are like a brother to me and a great

inspiration. You ensured I finished this book

and always kept me smiling with amazingly

funny pictures and stories.

Papa Kenton - For all the lessons on being

patient, pushing me to write about the obscure

material I love to perform and helping me as

much as possible whenever I ask.

You can find Kenton Knepper’s amazing

material at www.wonderwizards.com

Bob Cassidy-For giving me moments of

wonder, inspiring me to perform and for

inventing the best mentalism routines known

to man!

Felix Schellenberg - For all your additional

ideas, crediting references and proof reading

this book. You are a gem!

http://www.wonderwizards.com/

Bigger Fish

Myke Phillips - For your additional ending

to the A.W.A.A.P routine.

Erik Ostresh - For all your honesty, help and

my lovely Simon says clipboard!

All the performers around the world -

Thank you for taking the time to listen to the

things I had to say and utilizing the principles

and effects I had to offer.

Without you none of this would have been

possible and I appreciate it more than you will

ever know!

Keep on rocking in the free world!

el gran pescador(bigger fish), por peter turner(pdf)

Documents

Transcript of el gran pescador(bigger fish), por peter turner(pdf)