Peter Turner - Bigger Fish 2

By Peter Turner

Copyright © 2014 by Peter Turner

No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or any information storage and retrieval system now or to be invented, without permission of the author.

First printing: 2014 Devil Publishing

Editing &layout by:

Mike Vance,[email protected], www.magicmike.org

I dedicate this book to my amazing son Zachary Dennis Turner. I cannot believe you are six! I love you with all my heart, little man, and I hope you know you were constantly in my thoughts whilst writing this.

Love, Dad

Bigger Fish Two ========~-~=======--- lImer Acknowledgements xi Foreword xiii Preface xv Introduction 1

A Moment From a Memory in Time 5

Effect 7

Breakdown 8

Credits 19

PDEVS. MDE: How do you create? 20

Seven Keys to the Baldpate-Modernized 23

Effect. 26

Breakdown 27

Full Performance 29

Credits 32

Additional Ideas 33

Life Equation: Over the Phone/Anyplace, Anytime Pin Revelation 33

Effect. 34

Breakdown 34

Credits 38

Variation #2: Venom Variation of the Life Equation 38

Credits 40

Peter Turner

---Cropllology Impromptu 42

Credits 48

Billet-less Pin-Phone Code Guess 49

Effect 54

Breakdown 54

Step One: Determine the Number of Odd or Even Digits 54

Step Two: Finding the Highest Digit... 57

One-on-One Situation - Option #1 57

One-on-One Situation - Option #2 58

Group Environment (Highest Digit) 60

Additional Thought - Highest Digit 61 Step Three: The Lowest Digit - "Finger Slinger" 63

Additional Idea 67

Credits 68

Step Four: The Difficult Part 69

Additional Thoughts 75

Full Performance 76

Forget Me Not 81

Additional Idea 89

Peer Pressure (Name/Place) 91

Effect 93

Breakdown 94

Updating the One-Ahead 95

Paris Force Variation #1 98

Paris Force Variation #2 99

Piecing ItAll Together 101

Additional Thoughts 106

Pray Proceed Revisited 111

Effect. 114

Breakdown 116

Additional Thoughts 118

Added Drawing Revelation 119

Variation #1: Colour Me In 119

Original Variation 119

Additional Thought 121

Variation #2: Colouring in David Hoy 124

Variation #3: Beach Force 125

Additional Thought 127 Variation #4 128 Credits/lnfluence 129 Pray Proceed 2 130 Effect. 130 Breakdown 131 Additional Ideas 135 Full Performance 136

At the Center of Ambiguity 141

Billet-less Name Guess 147

Effect. 150

Breakdown 150

Anagrams 150

Outs 160

Bigger Fish

Two===_~==========--Addilioll.llldcllH 164

Full Performance of Name Guess with Characteristics 170

The Bob Principle 175

Spectator as the Mind Reader 193

Creating False Memories 203

Being Bold 215

Testimonial: My Book Test 219

Testimonial: Is This Your Card? 223

Testimonial: Seward's Sister 226

Testimonial: An American Tour 229

Testimonial: Skype Sessions 231

Testimonial: For the Girls 233

Testimonial: It's About That Time 235

Testimonial: Oh, the Mountains! 238

Conclusion 241

I'd like to thank a number of people, including Mike Vance, a True Gentleman, for proofreading, editing and layout; Michael Murray, for being a legend; Olivia Walters, for believing in/ loving me unconditionally (I love you); Annemann, for all your teaching; Kenton Knepper, "My dad," thanks for everything, because I wouldn't be here now if it weren't for you; Bob Cassidy, "Uncle Bob," a true veteran, I love your stories. You are one of a kind; and Uri Geller, thank you for taking the time for me!

C'Vrlflr rmn ,wo

----Let me start this foreword with a quote I sent Peter:

"I watched Peter Turner perform, and he's AMAZING! He performed mental mind reading, during which he astonished me with the accuracy of his intuitive powers. He looks cool, modem and he's down to earth. There is no doubt in my mind that he will fascinate you!"

Now that you understand my feelings toward Peter, let me share how we became friends.

Peter and I connected via email back in 2012. The first impression I got about Peter from the emails was that he was polite, reserved, very passionate, but most importantly, he listened. It's very rare any emails get followed up with telephone calls or personal meetings as I get so many it really would be impossible.

Fate decided this would be one of the times we would connect outside the interweb, and a couple of days later we talked on the phone. It was an interesting conversation which led to us getting to know each other more personally. That conversation really helped me understand who Peter is as a person.

He is compassionate and really understands empathy; he uses this as the core in his work. One thing that separates Peter from everyone else is that he uses his intuitive skills to create an amazing and emotional experience for the

---BlggOl Fish Two

person he is sharing his abilities with, so that person gets a memory that lasts forever.

One thing that stood out to me out ofall the things Peter said in that initial conversation which I think would best sum him up:

"This for me is as little about telepathy, as it is as much about empathy."

He understands the importance of using his feelings to make intuitive decisions.

Since our initial conversation we have talked lots of times. We have shared many stories and created memories, and I am proud to say he has taken on board and actively practiced several things I have shared with him.

I have no doubt in my mind you will love the thoughts and passion Peter has shared within this book.

Much Energy, URI GELLER,2014

www.uri-geller.com

xiv

It's astounding for me to look back on my own writings; this is honestly the first time I have picked up Bigger Fish since May 2012. This book for me was the turning point in finding my path, the path which defined me from everyone else! I now understand the power of words and the massive effect they can have on people without me even having to perform an effect!

It's unbelievable how much I have grown/matured in my thinking in the last year and a half. It's been one wild journey that has really made my life complete, so thank you for that from the bottom of my heart.

I always felt my life was destined for nothing; that is the message a lot of the kids got that grew up where I did. We never had money, computers or the like, but we certainly lived! Ithink it is this that has essentially helped me appreciate every little thing that is happening in my life right now. I will take you back to the beginning where this all started for me.

I became interested in magic when I was five years old after seeing Lance Burton on the television Christmas day. That moment was life changing; I had been through some hardship that resulted in me living with my Uncle and my Nan, and at the time seeing that was genuinely the only thing that cheered me up! I sat there wide eyed in wonder and realised this was my destined path.

_."

""

JiOI' .1 tow Ht'nmds, j.lk,,· yourselt back to the moment this

all happened (or you, the moment that seedling was planted and started to grow and spread like an out-of-control fire. Think for a few seconds just how much of an impact that one moment has had on your entire life. All the people you have met, that sense of wonder that's not describable in words that you feel and spread daily-focus on how it has been there to help you through dark times and created so many positive memories that you will have completely lost count.

That's the sense of wonder I got watching Lance perform.

It was exhilarating and it is that feeling that spurs me on now to give people a memory that will stay with them forever! I never had props or gimmicks as a child; I had one deck of cards that lasted me a hell of a long time. If a Tarot reader had pulled out those cards and said they had been passed down from generation to generation, the Tarot reader's statement would have been genuinely taken as credible!

As I mentioned briefly above, I never had the internet or magic books; everything I ever created I did so off of my own back. I performed whenever I got the opportunity, routines I had created; it was liberating. I didn't have the most savoury childhood and performing was an escape for me; I felt free, connected with everyone I performed for. I felt confident and it gave me the ability to make new connections.

---~Pe

I remember being six years old and performing at the talent competition at my first school, Foxhill, with Scot Robertson. He was a character. He played the acoustic guitar (Oasis uWonderwallU), and I jazzed with my pack of cards. Whenever there was any dead time with people picking cards, he sang, etc. We won the competition, although it wasn't really a competition as there were only three acts and we all won the same prizes!

Sorry, random tangent there. I left it in because I really want to represent me in this book and how my mind works. I started playing guitar myself shortly after, maybe as a result of being best friends with Scott. Who knows?

One thing I do know is I have not seen Scott for over ten years. We are finally back in contact, and maybe by the time you have read this we might have met back up to reminisce over old times. Hell, we might even bust out our old act!

At the age of eleven/twelve I had the fortune of going to town on the off chance with my Nan; we visited the Piece Hall market in Halifax, and there I saw a magician performing in a magic stall.

The effect he performed I replicated, obviously with a different modus operandi, but it achieved the same effect in a more streamlined sense. I must have been an impressionable little lad as he and my Nan chatted for a few moments, and she carne over and asked me if I

thought I ~'ol"d mnke it to II{lJi(.lX each Saturday on my

OWIl.

To cut a long story short, I had been offered a job as a pitch man in this little market stalL I was in my element! We were very poor at the time, and I remember going to a charity shop and picking up a suit jacket (one of the requirements of working in the stall). It was a purple velvet suit!!

I must have looked a sight, but I didn't care. I was creating memories and meeting people. Most importantly, I could read books and watch videos! I quickly realised that a lot of the stuff I had created had been released before; the moves I had worked on that I thought I had invented (for example, the double lift) had been created before. Was I disheartened? No! I was more encouraged. I had created things that people were applying, things pros before me had created. Itgave me a sense that we were on the same wavelength, and I was on the right path.

I got into mind reading at about fifteen years old when I saw Derren Brown on television.

He was amazing, simply the best performer I had ever witnessed, and he did something that had not happened to me for such a long time: he fooled me massively! He is still such a pleasure to watch now. A massive inspiration, I admit for a while I was a Derren clone.

Peter Tumer

That was eleven YCilrsago-wow, how lime flies! It is a liLtle disturbing to think how fast time passes, and now that we are up to date, let me reference a few words from the foreword of the original book (Bigger Fish).

"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."

Reading this back, there is one word that stands out to me more particularly than any of the others: Time. It is such a valuable thing. That's why I am so, so humbled by the people reading this now. I never understood the power of time, and I want to share a sentiment I use in my show to really show you the power of time. This will make you understand just how much I appreciate your time.

(This is an excerpt from a very private-release book of mine: The Book of the Demons.)

Performer: "This is for the lady in the group that has recently

been feeLing under confident, unappreciated by the people

around her. Iam not going to say who this is, but you will

know who Iam talking to.II

(This is great because most females feel this way, so most females will be thinking it is aimed at them. Itis almost Hoy-esque.)

Performer: "I am going to ask the female thinking this way a

/I/;III1/e Lpromise i/ will.

If

"Jdon't want you to answer this out loud, but think about it for afew seconds.

If

(Straight away, you have struck a REALLY emotional chord by getting them to think about this person, which is going to be used later for good. You also mention hugs and talking, which is also something women favour massively.)

Performer: "The reason Jasked that question is because that is how valuable five minutes of your time is to someone else. Even though YOU have felt slightly under confident and haven't valued your own time as much as you usually would recently doesn't mean somebody else hasn't; and for that reason all those feelings you just felt a moment ago, someone else feels for you

and you suddenly realise you are loved massively. "

Notice that I pointed out the feelings they just felt. Because of this it is very easy for them to understand how loved they actually are and how someone else feels. This approach is very, very strong, and just to prove how wonderful this is, I will tell you what happened after I had performed my parlour show.

Several females (at individual limes) approached me and thanked me; one female lold me it was just what she needed to hear and that she instantly felt so much more appreciated.

It is little of-the-cuff readings that make the biggest differences. You can see how it focuses on emotion and making people feel; that is a wonderful thing for anyone to experience. Then to take those feelings and to make them understand someone else's feelings is such a great way to help someone heal.

Inshort, Iam consuming something (time) you will never get back, so again, thank you from the bottom of my heart.

IfI may, I would like to point out one thing that stood out as wrong to me in the original book's introduction (in my few words section).

"You will notice upon reading, each effect has been described extensively; there is good reason for this. Ifyou cannot figure out how an effect is achieved while reading the description, you will realise just how fooled a lay audience will be."

That was immature and wrong. This material is not about fooling people; it's about creating memories that will last a lifetime. Creating an experience as a unit that will be remembered for a lifetime is a thousand times stronger

than fooling someone and making them feel

I::JIgger,..,sn_T~===,- _

paragraph is what is of the most importance. Gone are the days (for me) of separating myself from the audience; we work as a group to discover and experience things that are outside the norm as a collective.Iteven prevents hecklers!

When 1 decided to write this book, the first place 1 sought inspiration was Bigger Fish. 1 found ittherapeutic reading back and just reminiscing.

One "routine" (I couldn't find a better word, but it certainly is more than a routine) in the book is a routine called "Tattle Tale." One of the interesting things about this routine is the power of the story. I have learnt that a lot of the time participants (in a close-up environment) just want to talk about things. I find the power of words a really interesting concept.

I performed in a bar in the countryside near my horne, and performed "Tattle Tale" for an elderly couple. Itwas one of the most amazing things I have ever performed in my life! After that point of realising the power of this story and how much of an positive effect words can have on people, I now close my stage show with the story of the elderly couple.

Storytelling in mentalism (or any other art form) is a skill in itself; the tips below are some of the strongest tips I can offer in using storytelling in your own performance.

One of the most important aspects of creating an effect with your storytelling is to separate the story and the actions/routine. Ask yourself, are people listening to the story or watching the routine?

Itis very difficult for your audience to listen and soak up the story or to evoke any sort of emotion if you are constantly moving or breaking into the story. It's essential to separate your actions from the story.

Someone once asked me three questions that I thought were a really, really strong/inspiring set of questions that I now apply to absolutely every piece I write. These three questions were frequently asked by poet Philip Larkin.

1. Do people believe it? 2. Do I care?

3. Do I still care?

These are an interesting set of questions. Do people believe it? Are you credible? Is what you are selling believable? Do people care? Does it give people an interest in what you are doing, does it make them feel special and is it something that connects them with you or them with someone else?

Do people still care? Will it affect them forever? Is it something they will tell their grandkids?

Is it an experience that will live within the person WHO GAVE YOU THEIR TIME forever?

You can see why this would be a good framework from which to base an effect. This routine seriously does achieve that. Below is just one of the pieces that was inspired by "Tattle Tale."

Remember that what is special with these things is not the method or how simple the method is, but the profound effect it can have on the participant.

With me laying myself bare, without further ado, let's get into the material!

- Peter Turner, 2013 Alicante, Spain

4

1/\

Il1Vi'1W::W\JW~

\('~()W1

i\

1MU1~~

ii'J~

The participant is placed in a particular frame of mind and she starts to feel answers, and with no prior knowledge of the performer, the participant reveals several pieces of information that include places and names, all of which are confirmed to be true!

01

Effect

The performer sits with a group of people and addresses a female in that group. After asking her a couple of questions about her intuitive nature, the performer asks the participant to join in attempting to divine a memory.

'...

---...---~PcPotOl

Breakclown

This is such an amazing piece of emotional mentalism. Don't overlook its simple nature. I have the feeling that after reading this, you will be out performing this at any opportunity you get.

I have performed this in my close-up set all around the world for some time now, and it never fails to create beautiful moments. I would go as far as to say that I am that proud of this. It is one of the only pieces I am going to continue performing even when I change my set! Please read this to the end without skipping. Itmay be a little ambiguous right till you get to the end, but trust me, it's worth it. All you need for this is a watch where the stem pulls out twice. On the first click it just adjusts the date, and the second, the time, meaning if it just clicked out once, it won't have any effect on the time.

Set your watch to 7:45 and pull the pin out once and you are set (leave the pin out).

(If it happens to be 7:45 in the evening or morning when you perform this, change the time on the watch to something else.)

Itis essential that you also know the actual time.

When you are sitting with your participants, make sure you know the actual time (this is ultra-important). The easiest way to do this is to sit in a room with a clock on

the wall, or double check your mobile telephone just before going inlo this routine.

Address a female participant:

Perfonner: "Has anyone ever told you that you have an intuitive nature surrounding you?"

Let the participant respond. Itreally doesn't matter what the answer is, as you are going to give the same answer regardless. I always use a female, as they tend to try a lot harder and to have a better imagination for this.

Performer: "Have you ever had a moment when you just had a feeling about something, a knot in your stomach, and your feelings were true?

(Let them respond.)

"Have you had a feeling about a certain person and it turned out your instincts were correct?"

Let them respond. Itreally doesn't matter what they say. If you get someone who is being a flat-out nightmare to work with, move on to someone else at the table. I have never had this happen yet.

Perfonner: "Would you be comfortable

if

If they say No, don't breach their request by trying to force them; just move on to someone else at the table. I have never had someone say No, but what is important about the last question is that the participant

#:jIgger I-Ish rw~o~~=~ __._~====~ _ psychologically feels sornething is about to happen. If it wasn't, why would you ask the question?

Look at your watch. You are about to miscall the time. Performer: "By my watch I make it (state the real time).

Does everyone here have roughly that?"

Let everyone see the watch face. Remove the watch from your wrist, pull out the stem to adjust the time and start to swivel the stem while saying:

Performer: "In a moment, this is what I would like you to do:

take the stem of the watch and spin it between your fingers. You are going to do this until I ask you to stop turning it."

Whilst saying this, you need to secretly (but as quickly as possible) change the time to 7:45.Itneeds to be this time exactly, as it is going to be important later on. When you have the watch set to 7:45,address the participant.

Performer: "Y ou are going to be doing this while the watch is

face down. Can you hold out your hand for me?"

(Remember, this is all done in one smooth motion; your actions and scripting should work together flawlessly.) As the participant extends their hand, everyone's focus and attention will be on them. Remember, the audience and the participant don't have a clue about what is to happen, as the effect has not started yet, and therefore they will not be looking for you to adjust the watch to a certain time or to employ any sneaky moves.

As you reach forward to place the watch into the participant's palm, nudge the stem in half a step (setting it to adjust the date, not the time). This will now mean the participant cannot adjust the time from 7:45, yet when they turn the stem, they will believe they are adjusting the time.

(There is a beautiful alternative to having to adjust the time and to push the stem to the date setting, which allows you to move straight into placing the watch into the participant's palm after showing them a time. This is created by Steve Palmer [UK] should you want to search

itout, but it is currently unpublished.

This is great for anyone that has big fingers [like me] and is genuinely a really cool addition to this routine, as it makes the routine from the starting blocks really, really clean.)

Place the watch face down into the palm of the participant and address them.

Performer: "I want you to close your eyes for me. Take a few

deep breaths in and out. Really relax every single muscle and let your mind just slip into a relaxed place.

"Imagine the temperature of this place, the relaxing sounds. I want you to keep your eyes closed and to focus on a time when you thought something positive was going to happen and then it happened.

"Imagine the feelings you experienced, just keeping your eyes closed while I talk to the group."

f:jlggsr t-tsn I WO

----=---This is where YOli ,,11'(' going to employ something

beaulifu1. I believe it is one of the greatest things you can share with a group. For ease of remembrance, I am going to name this the Young and Free Ploy.

Address everyone else at the table:

Performer: "I invite you all to join (name participant's name) in closing your eyes.

(Wait till they have done this.)

"I would like you all, in your minds, to travel back in time to

your childhood.

"Imagine seeing a younger version of yourself standing outside in one of your favourite childhood places. Imagine the sounds, the smells, the ambiance that surrounds you.

"I want you to imagine what it would feel like to be free again,

to not have to worry about bills or the social stresses set by

society, to be relinquished of any responsibility for a few

seconds.

"Imagine seeing a cheeky smile on your younger self as you

imagine running through your favourite childhood place and

the wind blowing through your hair. You're running wild and

free, as free as a bird. I want you all, excluding (name

participant that is holding the watch), to take afew seconds,

and when you feel the hairs stand up on the back of your neck, open your eyes. "

(As you can see, there is a subtle use of the Confirmation Principle at the end of the last script. Itsuggests that the

Peter umor

hairs will stand up on the back of the neck, and by opening their eyes, it confirms that that is exactly what has happened. While using this script, drop your voice into a calming and relaxing tone.)

Wait for everyone to open their eyes. Performer: "Itfeels wonderful, doesn't it?

"This is exactly how (say the name of the participant with

the watch) is feeling right now, and she is going to explore

something amazing while in this frame of mind.

"Keeping your eyes closed for just a few more seconds, (again

repeating the name of the participant), I want you to

concentrate on amplifying the feelings you got when you were

in this scenario, and Iwant you in your own time to open your

eyes when they are at their strongest. "

(This is again the Confirmation Principle. When the participant opens her eyes, it suggests to the rest of the group that she has amplified her intuitive abilities.)

Performer: III want you to take hold of the stem of the watch between your thumb and forefinger and to start to turn it. Keep

turning the stem while Iam talking to you and just forget

about the speed at which you're turning the stem. In fact, pay no attention to it; just listen to my words.

III have one memory that means more to me than any other memory in my life.It is a memory that I will never forget.

________________________________~~peMrTumer

"You are goillg 10 leLl me whnt my I/Iemory is, right down to the specifics. You're worrying right now, thinking, 'How could I do this?'

"If you trust yourself and go into this with an open heart, then I promise you something amazing might just happen.

"So I will get the ball rolling. I am with a family member in

this memory. Don't rush into committing to anything. Take

your time, feel it in your heart and then tell me what the relation is of that family member. "

(This is where you are going to prompt them to tell you parts of a memory. For now, let them create the memory. This is just an example of one of the possibilities.)

Participant: "Your Granddad."

Performer: "Ok, take a few seconds, and really feel it in your

heart. What was his name?"

Participant: "Derek."

Performer: "You honestly are doing amazingly. Do you feel

you can continue?

(Let them respond.)

"In this memory, were we inside or we outside?"

Participant: "You were outside."

Performer: "What were we doing outside?"

Participant: "He was teaching you to ride a bike. "

(This iswhere you really solidify things. You need to put emotion into you story, so I suggest building a memory that is slightly upsetting.

You are going to need to improvise slightly; this is very easy, as they have given you a structure. This is where you will take the memory they created and make it a little more vivid. Smile when you say the following lines.) Performer: "I am going to stop you right there, (name of participant). Please push in the stem on the watch and keep

the watch face down. You genuinely felt the stem of the watch push in?

(Let them respond.)

"There is no way that you, nor I, could know the time you set on the watch.

(Let them respond.)

"Let me tell you about the memory. This memory was about one of the most important men ever in my life: my granddad. His name was Dennis, not Derek, but you were very close.

"I lived on Hillcrest Avenue at the time. What was really great about this memory was that I remember staying up late and him taking me out after my friends had gone in to get ready for bed. We went out at that time just so I had no pressure with them watching me.

"I was really embarrassed, as I never had a Mum or a Dad to teach me how to ride a bike. I lived with my Nana Pat. My

wo

---granddad came over every couple of weeks, and litis was a particularly special week for me.

"My granddad held the back of the bike as we went up and down the avenue a few times. After a couple of failed attempts of trying to balance, my nan appeared at the door and shouted

over: 'Dennis, bring (use your name here) in.

tr«

out the time you set the watch to) and it's time to get him

ready for bed. '

"No sooner had those words escaped my nan's mouth than my

granddad looked up; he forgot to keep hold of the bike. Off I

went on my own, riding my bike for the very first time ever! "I was so proud of myself. Ifelt the wind blow through my hair

and Iwas free. Iprobably wouldn't have remembered the time if

my nan had not shouted, but it's a memory Icertainly shall

never forget.

"I know what some of you may be thinking, that maybe I am

just agreeing with (name the participant)."

Lean over toward the participant and speak so the rest can hear, but suggest with your body language as though you are just talking to them.

Performer: "I think you and I both know I am not, and you

really did feel all of those things. There is only one way Icould confirm that (name participant) really did intuitively pick up on that memory, and feel the name and all the additional details.

"My memory l1appeILed a liLLIeafter 7:45 in the evening. You turned the stem of the watch until we both lost track of the time .... What time have you subconsciously set the watch to?"

Get ready to watch your participant's reaction.

She will flip over the watch, and when she states aloud 7:45, this is all you need to confirm that the entire memory took place and that she did, in fact, receive it! After the demonstration, it is important to prove the watch is, in fact, working Gust to knock that theory out of the ballpark should anyone question it). Don't point out that the watch is working. You should just imply. This is done very simply. Wait till everything that has happened has sunk in. Then when it has sunk in, reach forward to take the watch back, but don't bring it toward your body. Hold the watch in your hands and ask for the time.

When you get the time, tilt the face forward slightly so people can see that the time changes (this will prevent anyone from thinking it doesn't move), and then pop it in and casually let them see it working as you move your hands back toward your body. This just puts the cherry on top of the cake.

This routine really shows you the power of the Confirmation Principle. These small principles are often overlooked, but can be so powerful that they take a simple routine and turn it into a miracle.

I

II

II

II

You will notice that I let them take a near hit on the name. I think it is much more credible, as that psychologically

P8mr I

L1mB'---

---makes it ,'PPL'.lJ' V \ry early 011 that you are nol just

agreeing with them, The secret to making the rest of this seem credible is to build in actual pieces of your own memory around the memory they created.

So for example, when I reiterated the memory back to the participant (in the above example), I added that I lived at Hillcrest Avenue, which I really did. I did learn to ride a bike there; I did grow up with my Nan.

Itwas mostly true, and because it was true, I could tell it with conviction and gain credibility even before the watch was turned over. The improvisation process is really easy. Let's take a look at another example of a memory they could create and how you would improvise around it.

Family relation: Dad Name: Paul

Inside or Outside: Outside What were we doing: Football

I will keep this very brief just to give you the idea of how simple this is Gust a paragraph to summarize). Phil, not Paul (let the participant have a near miss). We were on Hillcrest Avenue. I saw my dad, and as I didn't grow up with him, it was a complete shock. My brother, Sam, and

I approached ourdad, and he look us to Litllemoor Park, which was about a five minute walk from our house. We played football and completely lost track of time until our Nan phoned. She was mad and proclaimed, "It's 7:45. The boys should be in bed now."

I think you get the picture. Please do not ruin this by presenting just like this. It is just a summary, an example. The more emotion you put into telling the story of the memory, the better it will come across. This is a real example of just how powerful presentation is in mentalism. If you can make your eyes water, use it, talk more softly and, when you talk about the memory, remember it is the first time you have talked about this memory. It doesn't matter if you look like you are searching for the details, as it adds to the credibility. Never underestimate the power of using the participant as leverage. Let them change their mind, let them feel and let them create.

Credits

Banachek - Psychokinetic Time Bev Bergeron - Predicting Time Kenton Knepper - Wonder Words Barrie Richardson - Theater of the Mind Gene Urban - Desert Brainstorm, Vol. 3

o

~-=~~========================~

---~---~p~,'umer

PUE VS.

MOE:

do you create?

Take your time to really think about 1/A Moment From a Memory in Time." It really proves that a method is the last thing that actually matters when it comes to performing. There are two main kinds of ways to create material, P.D.E.'s or M.D.E.'s.

P.D.E.'s=Performance-driven effects M.D.E.'s=Method-driven effects

A performance-driven effect is where the method is minimal; the performance is what you are focusing on. The scripts, the story and the mood you create when performing are what counts. This is the way I create material. I focus on what I want to achieve and envision playing it out in my mind.

When I create this way, it doesn't matter what the method is to achieve said vision. I try to create as little compromise as possible and to make the method as streamlined and simple as possible.

A method-driven effect is an effect where you have a really clever (for the sake of being clever) method and then try to fit a performance around that method. This makes it very difficult for the presentation to be as strong or clever as the method, and often the presentation doesn't sit very well.

When you read some of the pieces in this book, you may think the method is clever, but that was never the

intention. The intention was toachieve whal J envisioned as closely as possible.

22

~~Vi:j\J Y<W::~~

Y() Yi£

~i\i_j)i?i\n: - ~~

J

hut \'\lit tilt'

llI,lll\-II

I

(It WOt It' '.

~~~~i'J

IK~~~ YV Yi-E

~i\i_i)i>i\ ~

-

~N7~i)

In Bigger Fish, I wrote my variation of a "Seven Keys to the Baldpate" routine (which I love). After looking back and refining my thoughts (which is something I constantly do), I thought it would be great to share a brand-new variation with you.

This last couple of years have seen me mature my thinking massively (as mentioned in the introduction); I have seen things in a new, logical and streamlined way. So what is the problem with "Seven Keys to the Baldpate"?

The main issue is not the method, nor the presentation. It's the props.

That may not be a problem (01' some people, but I JUSl don't want to carry around a padlock and seven keys. This got me thinking, how could Irevise this beautiful effect to present it to a modern-day audience?

The answer, when you have read it, will make you slap your forehead and think, "Why the hell didn't Ithink of that?"

Effect

The performer sits with a participant (we will call her Mary).

After becoming acquainted, the performer asks Mary to remove her mobile phone. He takes the mobile from Mary and realises it has a password locking it.

The performer looks at Mary and asks if she would be happy for him to try divining the code. Of course, she doesn't mind.

The performer removes five of his business cards and asks Mary to write her phone code upon one, to write four fake codes on the remaining cards and to mix them up until even she doesn't know where her actual code is. The performer closes his eyes (he could even be blindfolded). He asks Mary to lift up the cards to his forehead one at a time, with the numbers facing her, and to lightly hold the card a couple of centimetres from your forehead (never making contact).

26

The performer's eyes are closed the entire lime during this process.

The performer says No to the first card and asks Mary to place the card to one side, discarding it; the next is also a No that is also placed to one side. On the next card the performer is a little hesitant, claiming a "maybe," and the card is placed face down onto the table in front of the performer. The next is a No, the next a Maybe (which is placed face down in front of the performer) and the final card a No.

The performer now opens his eyes. He tells Mary he is about to flip the cards, but she is not to give anything away. The cards are flipped and the performer holds his hands over each of the cards for a few seconds, finally picking up Mary's phone and unlocking it!

The cards can be left with the participant and examined completely!

Breakdown

This effect is best suited as an opener to a routine that is going to use the participant's mobile telephone (like

Isabella's Star 2-Shameless plug!). That way there is a

beautiful following point from this effect as it segues seamlessly straight into another effect.

Firstly, you will have realised that I reduced the number from seven to five. This was purely to keep the presentation entertaining. Now you must be thinking:

Bigger Flsihhl--n1wmol---~---__

r---~---rnn_~=--___...

"Jlow can you locate the card if ilhas no markings?" The honest truth is that the cards are marked, just not visually!

To mark the card, simply take a business card and spray it with a perfume or aftershave spray. Just lightly spray the card and then let it dry out.

That's right, the cards are marked VIa the smell!! Therefore, you will know exactly which card it is even with your eyes closed.

Whenever the prepared card is run past your nose, as long as you are breathing through your nose when the card is brought up to your forehead, you will be able to smell the perfume.

The method couldn't be more simple. Since you are going to be asking the participant to place the cards up to your forehead, you will know exactly when to breathe. This technique is ultra-reliable.

I was in London with Myke Phillips and I had "prepared" the Ace of Hearts. Iused a classic force on Myke (which Iknow he spotted). Iasked him to mix up the cards and asked him to quickly go through the entire deck (placing each card to my forehead).

Igot down to two, and without even turning over the cards, I located the Ace of Hearts (I am sure he didn't know how that was done!).

That's my random tangent over. Back to the effect.

The strength of this effect lies in the presentation.

Full Performance

(I am going to assume that you are already acquainted with the participant.)

Performer: "I want you to think about this for a few seconds.

If you could read minds, what would you want to read from someone's mind?"

Pause a few seconds.

Performer: "Everything you are thinking of right now I have

probably tried at some point. Icertainly do know when someone

is lying to me. " [I

I

I

I

(The last statement is said off the cuff. Women that are in relationships most of the time think: "1wish Icould know when my partner is lying." Never make a huge point when using the throwaway line; let them decide if you really did read that that is what they were thinking. A lot of the time they will vocally let you know that that is what they were thinking. Say the line enough so that even if they weren't thinking that, the line will never seem out of place.)

Performer: "Have you got a mobile phone that I could borrow

for a couple of moments?"

The participant pulls the phone out of her pocket and one of two things is going to happen:

Bigger

2. She is going to go to unlock the phone before she hands it to you.

If she hands it to you straight away, then proceed into this routine. If, on the other hand, you notice that she is going to unlock it, stop her.

Performer: "Has it got a lock on it? That's not a problem. Do you mind

if

She will obviously say she doesn't mind.

(I find it really, really strange the psychology that goes on in participants when they see someone performing-it's surreal! A random person walks up to group at a table and they start to hand them bank notes, phones and share random information with them!

It really is daunting when you think about it. Sorry, another tangent down.)

Hold out your hand for the phone. Evenifthe participant had any reservations about handing it to you, you are already halfway there, so it psychologically seems easier for her to hand you it.

Place it to your left. Ensure you know where it is, because the last thing you want to do is knock it off of the table when you close your eyes.

Remove a stack of business cards from your pocket (the prepared card is on the face of the stack is therefore the one they will write on first).

Performer: "! uian! YOI/ to write down your actual phone code

on that piece of card, whilst I look away. When you are done, place it face down onto the table."

(Make sure you say the word "actual." It prevents them from writing down a fake code. I have had this happen before, and when it comes to the revelation, it is not pretty. Changing one word can make such a difference in the way the participant acts.)

Performer: "Now I want you to write a fake four-digit code onto each of the other cards. "

II

I

I

around when they have done it. This process, on paper, may seem lengthy, but in performance, trust me, it is over very quickly.

Performer: "Pick up the cards up and mix them until you are

satisfied that even you don't know the order of the cards."

The cards are mixed.

Performer: "In a moment I am going to close my eyes. When I

close my eyes, I want you to pick a card up when I tell you and to hold it in front of my forehead. Always ensure the numbers are facing you. "

(This is where things get really easy. Obviously all you have to do is ask the participant to place the card in front of your forehead and start to breathe in slowly through your nose. You want to make sure that when the card with the smell comes up to your forehead, you act

hesitantly and point with your right hand where to place

itin front of you. This is essential. Because you have your eyes closed, you need to know exactly where the card is being placed. The second card should be placed to your left, so direct the participant with the left hand.

If you haven't noticed the smell by the fourth card, place the fourth card to your left and the fifth card to your right.)

Open your eyes. Obviously you know where the card is, so the rest of this is about taking your time and really making it seem like you are divining the card.

Address Mary:

Performer: "Mary, I am going to flip over these cards. It is

essential that you don't give anything away at this point."

Flip over the cards and start to hold your hands over both the cards in turn, and then pick up the mobile telephone and hold it toward yourself. The last thing you want at this point is Mary seeing the first number you type in, because she will react prematurely and that's it, effect over. You want her to react to the moment the phone opens.

Credits

George M. Cohan - Seven Keys to Baldpate (1913) Annemann - "Seven Keys to the Baldpate"

Henry Fetsch - "Lock and Key," Jinx, nQ34, July 1937

Pablo Amira -JniLIiliaII Key

Lee Earle/Larry Becker - Stunners

Max Maven - "Key to the Future," VideoMind, Vol. 2 Barrie Richardson - Theater of the Mind

Mark Strivings - Penguin Lecture

John Archer - "Soundbox," Further Education

Richard Osterlind - "Seven Keys to the Baldpate," Easy to

Master Mental Miracles, Vol. 1

Jack London - Superb Mentalism of Jack London

Additional Ideas

Life

Equation:

Over

the

Phone/Anyplace,

Anytime Pin Revelation

This is a very, very old effect and one that in its original form was fairly transparent. With the scripts I offer here, you will never get called on this, as it seems so fair.

I will write out what the effect looks like and then I will move into explaining the formula. From that formula I will explain how to use Michael Murray's Springboard Principle to get to the phone code.

Did I mention this can be done over the telephone? Or used to divine actual pin codes?

Effect

Several numbers are totalled that are private to the

participant and no one else in the room. This total in numerology is known as a life number. When the participant has that number in mind (it is never written down, is never said aloud), the performer can instantly divine the participant's phone code or pin code.

Breakdown

Iwill outline the script that makes this seem impossible after the breakdown.

Ask the participant to go into their calculator. Most mobile phones have them, making it probable that they have one on their person.

1. Ask the participant to type in the year they were born. Make sure they type it in in full four-digit form.

2. Tell them to press the plus key and to type in a year that is special to them.

3. Tell them to press the plus key again and then to type in their age.

4. Tell them to press the plus key for the last time and to type in the number of years it's been since the special year.

5. Press the equals key.

34

t=mm

Whal they have just done is calculated their life number.

Ifyou take a look at the math, you will see an interesting thing has taken place.

They will type in their O.O.B. and then their age. When they total this, it will total the year we are in currently

(2014).

When they add their special year and the number of years it's been since the special year, it will also equal the current year (2014).

When you add these together it will total 4028

(sometimes 4027). Stripped down and arranged like this the equation seems totally obvious.

To hide the process of this mentalism effect, one could stagger the mathematical operations so that it looked less obvious, but with a little investigative work it become fairly easy to backtrack.

Here is a script that Iuse that ensures that it will never be backtracked.

Performer: "Have you ever heard of a life number?" (Let the participant respond.)

"I want you to take out your calculator, and to type in the year you were born - the full four digits if you will.

"Keep the calculator toward yourself.

"Now there is no way Icould know the year you were born. I

r---~e~,rmm~,_

uain! alii S()lllelhiIlS: YOllr yet/l'

(1

different than mille, different than these ladies here, and

different to this gent here.

"Press the plus key for me and then type in a year that is

special to you, one there is no way that anyone here could

know.

"Again, this number is a number relevant only to you and, again based on probability, completely different from everyone

else's here. Iknow Ikeep pointing this out and it may get a

little tedious, but Ireally want to point out how much of a

different path you're going off on from everyone else.

"Press the plus key again and then type in your age -again,

my age is different-and press the plus key just one more time,

and then type in the number of years it has been since your special year. Again, my special year happened in a different

year from yours. Therefore the number of years would be

different also. When you have done that, hit the equals key. "What you have just done is generated your life number: a number generated from numbers surrounding your life and no one else's.

If

"Can you remember this number for me?"

(Let the participant respond.)

This is where you have two choices: you can either reveal the number or proceed to get their phone code.

This kills on its own! I have been using this for the last couple of years and I love it when I have nothing on me, as it can be performed anyplace, anytime.

Inperformance you might think this takes a long time, but it really doesn't. Itis over very quickly once you have the scripts memorized.

Here is where you will employ Michael Murray's Springboard Principle to arrive at the participant's phone code.

Address the participant:

Performer: "There is obviously no way I could know the number that is private to you. Iwant you to think of the first digit of your phone's code. Is it higher or lower than the first digit of your life equation?"

Let them answer. It doesn't matter if they say higher or lower. When they answer, ask them by how many. We will say they have said "higher by 2" - and we obviously know that the first digit of the life equation is "4" -so if it is higher by 2, the first digit of their phone code is 6. This

is a very easy way that seems a very Sherlock Holmes-esque way of divining phone code.

Remember, there is in the participant's mind no way that you could know their life number, so they will never suspect you will know this. This is obviously repeated for all of the digits until a four-digit code is generated.

cIgo",,·,sn TWO

_{r---~~TIm'~---~}

TIll' only lime you might ever gel c.l problem and this

threw me in the past (unLil I was used to il) -is the "0" (the second digit of the life number). I consider this a 0 whilst some people consider it a 10.

This means ifthe participant says lower when it comes to the second digit (4"0"28), you know the participant considers the 0 a 10, meaning if they say lower by two, their phone code is two lower than 10 (an 8). If the participant says higher, the participant, like me, considers the "0" a zero, and you just count up however many they say from zero.

Credits

Annemann - 202 Methods of Forcing (force 117) Jack London - Almost Real Prediction

Variation #2: Venom Variation

of the Life

Equation

If you are not interested in using the life equation from above, you can always use the Toxic Force. That way, you can have them (or anyone else) seemingly type in random digits and the total will always equal what you want it to (because of the way the toxic force works).

You can essentially tum your phone (or theirs, as this can be borrowed) into an add-a-number device, meaning you can force the total no matter the sum typed into the calculator.

Note: This will work on any iPhone or a scientific calculator with one line of text. The iPhone is the better of the two.

Turning the iPhone into an add-a-number device takes just a second. All you have to do is go to the calculator, rotate the phone onto its side, which will bring up a scientific calculator, and then punch in a series of four digits (any you can remember). For this example we will type in 1234. When you have typed in four numbers, there are four keys you need to press:

Plus, zero, times and then the open bracket.

+ 0x(

Most people don't like using the Toxic Force, as it leaves the times key highlighted. I found a way to remedy this that is ultra-simple. Just tap the zero key again. The times key will no longer be highlighted, and you can let the participant make any sums on that calculator/phone and it will total 1234 (or whatever force total you typed into the phone).

When the total appears, you can move straight into the Springboard Principle (described above) to divine the pin code.

Note: If you are going to borrow the phone, you also have the opportunity to do something else that is really, really sneaky. You can steal information! (Outlined below.)

Credits

Bob King -Calculation Sensation

John Cornelius - Toxic Force

Stealing Information

When you borrow the iPhone, very openly find the calculator, and make sure the participant can see the screen. Make sure they know you have gone straight to the calculator.

Lift the calculator toward yourself and double tap the home button, and it will bring up a sub menu to jump between what's open on the phone (essentially a quick menu).

Click on the messages button (the little bubble), press one of the names in there, then double tap home again and select the calculator.

Then proclaim to the participant:

Performer: "In jact, we will make this more interesting."

Lower the screen down and tap the erase key several times.

Performer: "Iwould like you to take the phone. "

Hand the phone to another person at the table (or the same person-it doesn't really matter).

ter Turner

Performer: "Press the erase key; ensure there is nothing stored in the memon;. "

(This line is only used if you are using the "life equation" method. I personally think this works better with the life equation.)

Proceed into the life equation routine.

What I want you to note is how simple and fast this happens. It is something that is over in a matter of seconds and never seems suspicious.

After the life equation routine, leave a little time before revealing any information. This is a good way to guess someone's partner's name, as most people text their partners frequently.

The reason I feel this is so beautiful is because it is giving you a free piece of information. What really counts is how you use and what you do with that piece of information that is ultimately important.

You could use that piece of information in a one-ahead later and turn it into two or three. Just having the piece of information gives you leverage.

fjlgger f"'Sn TWO

~~~.-Graphology - Impromptu

If you wanted to "genuinely" try an experiment of locating the real pin code out of the five, ask them to write down their code first and then four fake codes on five different cards.

If you ask them to mix up the cards and take back the cards from the participant, you will notice something interesting!

Because the participant already knows their pin code and they are making up the other pin numbers on the spot (which becomes increasingly more difficult), when they write their pin code it will be written fluently. The other fake pin codes will be written a lot more slowly, as they are making up the digits as they go along on the spot. We can use this to our advantage; all you have to do is take a look for the one pin code that stands out from the rest. Sometimes this is SO blatant that you can tell instantly. There are a few things to do when wanting to perform this routine like it is written. To ensure the participant makes the writing different and at the same time never sees the difference in writing themselves (making it very difficult/impossible to backtrack), you need to play on the fact that the participant never knows what is going to happen.

Hand the participant one business card.

Performer: "Quickly uirite douni your phone's unlock code and place the card face down onto the table for me. While you are doing this, Iwill look in the opposite direction, and give me a nice clear Yes when you have done that."

The participant says they have completed their task. This is where you will have a second thought.

Hand the participant four more business cards, saying: Performer: "In fact, write down a fake four-digit code onto each of these cards. You will then have four fake codes, one on each card. Think about what you are writing, though, and don't make it abundantly obvious that the codes are fake. IfIlooked at the cards, then Iwouldn't be able to tell your codefrom the four fakes."

(What you have achieved with the two scripts above, if you look at them in close detail, is that the real code was written quickly, and the fake codes were thought about and written down intricately. There is a logical reason for asking them to take their time when writing the fake codes.)

Ask the participant to mix up the cards, keeping them face down until even they forget the order of the cards. When you take back the cards, ensure that the numbers are kept from the participant's view, fan them toward yourself and look over them. Remember which position the target card is in.

Biggar Fish Two

~========~=---~~---Note: By target I mean the card you believe the real pin code is on.

When you spread the cards, proclaim:

Performer: "One of these codes is your real code, and the

others are four that you created.II

Try to spot the position of a card that looks closest to the hand writing of the indifferent card.If you can remember the actual phone code as well, do, although I know it is a lot to take in.

Layout the cards face down, and remember when you lay them out to reverse the order of the cards. So if the indifferent card was in the second position when you laid down the cards, the card will now be in the fourth position.

Hold your hands over the top of the cards one by one, and pick up a card that is not the target card or the card closest to the target card. Without even looking at the card you picked up, tear it.

Repeat this process until the target card and the one closest resembling the handwriting of the target card are left on the table.

You have the choice of two endings:

1. Flip both of the cards face up and hold your hands over them one more time. This way the participant will see two cards with similar handwriting and will never suspect that that is how you have

achieved the effect. Take the participant's phone, keep it toward yourself and type in the code, unlocking the phone.

2. If there isn't a card that resembles the writing of the target card with the phone code, don't worry and keep the cards face down. You know what the pin code is, so pick up the last business card (that is not the phone code), tear that card and again place the pieces to one side. Never flip the last card. Just hold your hand over it and then take the participant's phone. Type in the code that you remembered at the start of the routine and let the phone unlock.

As you can see, method-wise this is really simple; it's all about your presentation.

You can also streamline this process by simply marking one of the cards; I am not going to go into extensive detail about how to mark a business card, as I am sure you will have several ways to do this yourself, but here is just one simple method to mark your cards.

See if you can see the marking on the back of this business card. The first one is marked, the second is not.

The secret to this marking system may be discovered by taking a closer look at the telephone number. If you look at the first digit of the number, "0," you will notice that it

is slightly darker in the first image compared with the second.

A lot of the time, I try to play with things that come across as genuine. I currently have about an hour and half (consecutive) of prop-less mentalism, anyone of the pieces I can apply dependent on the situation.

This is an amazing piece (if I do say so myself). It's one of my absolute favourites and something I use pretty much in every performance I do. I have refined this to a point

where I hit more often than not.

When you perform this type of routine, there is a chance of failure. Failing is something that a lot of performers worry about and something I urge you to learn to do. You probably think you misread that. I did just urge you to learn to fail. It is as important as any other aspect of mentalism. I think if you can credibly fail and learn to wash away the misses (which is something discussed later in this book), it will be one less thing you have to worry about. One thing you will achieve when thinking in this frame of mind is the ability to do exactly what you claim you are doing: read minds!

Bigger Fish Two

~~==========~---Credits

Julian Moore - Graphology: The Art of Handwriting Analysis

Black Hart - Graphology

Andy Fisher - Doodle Me a Tree Peter Stammers - Picometry

Rudy T. Hunter - Draw Me a Tree ... Ariel Frailich - Reading Writing

~fii..l.W:::'"W·-i_W::~~

1Bii_i_£i

~ii'J-~i1i)i'.E

QjiX~~

There are several ways to guess pin codes or phone codes for real. Because of the effect above, I thought I would outline one of the techniques that I genuinely use to guess pin codes.

II

I

I

I

I

I

II

I

This is the type of effect I always dreamed of being able to create. Itis a real as real gets! This is the sort of effect that is often depicted as the "Grail" or "impossible" or "a pipedream."

Yes, it might be, or it might be that no one has tried to search for these effects as they are deemed impossible. Imagine all the inventions and gadgets that you own and take for granted; these were once deemed impossible. If

no one had attempted to invent them, then they would still be so.

You may think to yourself: "What are the advantages of performing billet-less?" The honest answer is that I never set out to design prop-less mentalism. In the introduction to the book, you will see it says that I was a genuine believer in these types of effects. There was a time when I didn't know what preshow or a billet peek were. I learned to force/guess many things without billets long before I learned to peek, and therefore, my thought process works better this way.

I am not trying to get you to forget using billets, or to tell you my way is better. It's not ... but I certainly have fun doing it!

~ll I am simply doing is offering you a fresh perspective into the way I think. Feel free to apply the pieces you like, and just keep the pieces you don't to the side should your thinking change.

It's startling to me when I think about all the things I can do now with absolutely nothing! A lot of these types of effects are born by accident, and I have learned via trial and error that taking guesses and being bold, and then remembering what worked during those bold moments have helped me "find" the principles you are about t~ read.

I really hope you take into account just how strong this is. H may on paper seem longwinded, but trust me, these

PBnJrTumer

==~---~~

principles work. And they work well. I remember the release ofDare to be BOLD, one of my pieces of work that, I must admit, contained some immature thinking. There was a routine in that book called "Trust Your Instincts," which people read and shunned as not workable or not deceptive (not that that's important, as I am merely using it to prove a point).

That same routine was the routine I opened my Penguin lecture with several years later, and even people who knew the original routine were completely fooled (though that was not my aim). This is no different. Unless you take the time to practice, work and then refine this (making it suit your character), this will always be a pipedream.

There is one thing I want to point out before I get a ton of emails complaining, saying, "You wrote down your prediction on a billet. That's not billet-less." When I say billet-less, it means that the participant NEVER writes on a billet or selects a billet. They literally think it and you reveal it.

If there was a beer mat, you could write your prediction on that; you could write your prediction onto a napkin; you could write it on your hand; or you could just verbally reveal it. The point I want to make again is that when I say billet-less, the participant doesn't have to write down anything onto a billet or to select any cards or billets! That's it, I am now officially rambling.

Note: WlH.'1\ you read the breakdown (or this effect, don't skip the additionallhoughts.l have added the way I have recently started doing this effect in the additional thoughts section (which I think is much cleaner), and it

gives you extra leeway.

Effect

The performer sits with a participant and IS able to

deduce a pin code or mobile phone code.

Nothing is written down or spoken aloud by the participant. This is impromptu anyplace, anytime material.

Breakdown

This relies on a really clever progressive anagram. I generally hate anagrams, as they always seem to ha~e too much fishing involved. Just like the name revelation above, this takes advantage of the Restricting Without Seeming Restrictive Principle that I detailed in in Bigger

Fish. Half the work should be done before the anagram

process takes place.

Step One: Determine the Number of Odd or

Even Digits

Knowing the number of odd or even digits is essential.In

most scenarios (and based on probability), there will be two odd and two even. Start the process with a simple question.

This question works best when you have nol even mentioned you are going to divine the pin code.

Performer: "Are all the digits in your pin code different?" Let them respond.

(If they say No, ask them to change one of the repeated digits to a new number. This means that they have a new pin code in mind. Use the excuse that changing one digit ensures you are not going to reveal their actual pin code, protecting their privacy. Push the objection back onto them. Itsounds slightly counterintuitive to have all of the digits different, but the way this process is constructed, it makes it easier to divine and at the same time seems psychologically more impressive from the participant's point of view.)

Performer: "There are not two odd digits in your pin code, are

there?"

This is a typical closed question. If they say, "Yes, there are," great. If they say No, openly ask them how many there are. If they have changed the pin code, as there are repeated digits within their original, ensure you say: "There are not two odd digits in your NEW pin code, are there?" This will ensure that when they answer this question, they know they are to answer about the pin code where all the digits are different.)

Once you know the number of odd digits inthe pin code, by default you know the number of even digits.