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I am absolutely terrified. This is a huge night for me. | 0:00:02 | 0:00:04 | |
I've chosen a perfect stranger | 0:00:04 | 0:00:06 | |
and gifted them my mind-reading abilities | 0:00:06 | 0:00:08 | |
and they're going to be tested in front of a live audience. | 0:00:08 | 0:00:11 | |
This has never been attempted before | 0:00:11 | 0:00:14 | |
and could all go horribly wrong. | 0:00:14 | 0:00:16 | |
I'm giving everything away. | 0:00:16 | 0:00:18 | |
Well, it is Christmas after all. | 0:00:18 | 0:00:20 | |
APPLAUSE | 0:00:45 | 0:00:47 | |
Ladies and gentlemen, | 0:00:47 | 0:00:49 | |
the one, the only, the fantastic | 0:00:49 | 0:00:52 | |
David Meade! | 0:00:52 | 0:00:54 | |
INTRO MUSIC | 0:00:54 | 0:00:56 | |
Hello, good evening. | 0:00:59 | 0:01:01 | |
Hello, hello. | 0:01:01 | 0:01:03 | |
Good evening, everyone. | 0:01:04 | 0:01:05 | |
Good evening, and thank you for coming. | 0:01:07 | 0:01:09 | |
My name is David Meade and I am a mentalist. | 0:01:09 | 0:01:12 | |
Now I'm conscious that an awful lot of you here | 0:01:12 | 0:01:14 | |
may think that means I'm a psychic...or a psycho, | 0:01:14 | 0:01:17 | |
but I'm neither of those things, I can assure you, | 0:01:17 | 0:01:19 | |
despite my slightly weird dress. | 0:01:19 | 0:01:21 | |
My job is to try and make it look like I can read your minds | 0:01:21 | 0:01:24 | |
and it's much easier for me to show you how I do that than to explain, | 0:01:24 | 0:01:28 | |
so I promise I won't embarrass anyone, but if you don't mind... | 0:01:28 | 0:01:31 | |
Gentleman here, I promise I won't embarrass you. | 0:01:31 | 0:01:34 | |
When I click my fingers, | 0:01:34 | 0:01:35 | |
I want both of you to raise one hand up into the air above your head. | 0:01:35 | 0:01:39 | |
Three, two, one. Go! | 0:01:39 | 0:01:41 | |
Now, all I need are a couple of willing volunteers. | 0:01:41 | 0:01:44 | |
Oh, you two look keen! | 0:01:44 | 0:01:46 | |
Give them a round of applause as they make their way up. | 0:01:46 | 0:01:48 | |
APPLAUSE | 0:01:48 | 0:01:50 | |
Now, what's your name? | 0:01:53 | 0:01:55 | |
-Stephen. -Stephen and... -Chris. | 0:01:55 | 0:01:58 | |
Stephen and Chris, | 0:01:58 | 0:01:59 | |
-thank you for helping. Have you had your mind read before? -I have not. | 0:01:59 | 0:02:02 | |
-What about you? -No. | 0:02:02 | 0:02:03 | |
OK, Stephen, I promise it will be, broadly speaking, quite painless. | 0:02:03 | 0:02:07 | |
Let me tell you how this works. | 0:02:07 | 0:02:08 | |
Here we have a wheelbarrow full of books, | 0:02:08 | 0:02:10 | |
contributed by a range of new and second-hand bookshops across town. | 0:02:10 | 0:02:15 | |
That's so you know we haven't tampered with them. | 0:02:15 | 0:02:17 | |
The owners are here. Hello. Thank you for coming. | 0:02:17 | 0:02:20 | |
So, we'll slowly work our way through every one of the books. | 0:02:20 | 0:02:23 | |
It'll only take about 12 hours | 0:02:23 | 0:02:25 | |
so you take that one and you take that one. | 0:02:25 | 0:02:27 | |
I want you to flick through and make sure all the pages are different | 0:02:27 | 0:02:30 | |
and all the words are different, | 0:02:30 | 0:02:32 | |
and when you're happy I'll start with you. | 0:02:32 | 0:02:34 | |
Happy they're all nicely mixed up? | 0:02:34 | 0:02:36 | |
-Yes. -I'm...I'm glad we have these little chats. | 0:02:36 | 0:02:39 | |
Now, I want you to stand with both hands by your side for me. | 0:02:39 | 0:02:42 | |
I'll flick through the pages. Call out the word "stop" anywhere. | 0:02:42 | 0:02:45 | |
Stop. | 0:02:47 | 0:02:48 | |
Is that precisely where you want it? | 0:02:48 | 0:02:50 | |
-Yes. -Are there words or pictures on that page? -Words. | 0:02:50 | 0:02:53 | |
OK. Don't say any of them out loud, | 0:02:53 | 0:02:55 | |
but for now, I want you to read silently the first word on the page. | 0:02:55 | 0:02:58 | |
-OK. -Can you do that? | 0:02:58 | 0:02:59 | |
Hold the book open, up against your chest. | 0:02:59 | 0:03:02 | |
Now, my job is to work out what that word is. | 0:03:02 | 0:03:05 | |
And all you need to do is hide it. | 0:03:05 | 0:03:07 | |
I want you to think of the first letter of that word | 0:03:07 | 0:03:09 | |
and say the alphabet. | 0:03:09 | 0:03:11 | |
Go. | 0:03:11 | 0:03:13 | |
A-B-C-D-E-F-G-H-I-J-K... | 0:03:13 | 0:03:14 | |
See what you did there? Slightly up and to the right on the letter F. | 0:03:14 | 0:03:18 | |
Is the first letter F? | 0:03:18 | 0:03:20 | |
Really? It is? | 0:03:20 | 0:03:21 | |
In the business, you're what we call "easy." | 0:03:21 | 0:03:23 | |
So, thinking of the second letter for me, | 0:03:23 | 0:03:26 | |
thinking of the second letter, | 0:03:26 | 0:03:28 | |
bearing in mind you know exactly how I'm doing this now, | 0:03:28 | 0:03:31 | |
could you hold that with your right hand? | 0:03:31 | 0:03:33 | |
I assume you write with your right hand? OK, excellent. | 0:03:33 | 0:03:36 | |
I just need to strip this up here. Thinking of the second letter, | 0:03:36 | 0:03:39 | |
go quickly now, say the alphabet quickly. | 0:03:39 | 0:03:42 | |
ABCDEFGHIJKLMNOPHQ... | 0:03:42 | 0:03:45 | |
LAUGHTER | 0:03:45 | 0:03:47 | |
It's OK, the important thing is that no-one's watching. | 0:03:47 | 0:03:50 | |
So, thinking of the second letter, start again for me. | 0:03:50 | 0:03:53 | |
-ABCDEFGHIJKLMNOPQRSTUVWX... -OK, very interesting. | 0:03:53 | 0:03:57 | |
Sorry to interrupt you, | 0:03:57 | 0:03:58 | |
but I don't want to keep the pain on any longer. | 0:03:58 | 0:04:01 | |
What's interesting is, | 0:04:01 | 0:04:02 | |
you think I think that you think I'm looking for the same thing. | 0:04:02 | 0:04:06 | |
I'm not, cos you blinked a lot there, | 0:04:06 | 0:04:08 | |
like you were going into anaphylactic shock. | 0:04:08 | 0:04:10 | |
And it's not to do with your wrist. I watched your foot | 0:04:10 | 0:04:13 | |
and your left foot tapped on R. Is the second letter R? | 0:04:13 | 0:04:16 | |
Is it, really? | 0:04:16 | 0:04:17 | |
Wow, I wish you came to all these shows. | 0:04:17 | 0:04:19 | |
I want you to think of the third letter for me now, and this time, | 0:04:19 | 0:04:22 | |
I'll teach you all the technique, because this show is about gifts | 0:04:22 | 0:04:26 | |
and it's about learning things. | 0:04:26 | 0:04:27 | |
This is a technique you will be able to use in job interviews, | 0:04:27 | 0:04:30 | |
even on dates and in nightclubs. | 0:04:30 | 0:04:32 | |
The FBI use it, CSI use it, and it's a really useful technique | 0:04:32 | 0:04:36 | |
to work out what's going on inside someone's head. | 0:04:36 | 0:04:38 | |
This time I'm going to say the alphabet. | 0:04:38 | 0:04:40 | |
A B | 0:04:40 | 0:04:42 | |
C D | 0:04:42 | 0:04:43 | |
E | 0:04:43 | 0:04:45 | |
F G | 0:04:45 | 0:04:47 | |
H | 0:04:47 | 0:04:48 | |
I J K | 0:04:48 | 0:04:50 | |
LMNOP | 0:04:51 | 0:04:53 | |
QRS | 0:04:55 | 0:04:56 | |
TUV | 0:04:57 | 0:04:59 | |
WX | 0:05:00 | 0:05:02 | |
Y...Z. | 0:05:04 | 0:05:06 | |
-Did that put you off at all? -Not at all. | 0:05:08 | 0:05:11 | |
OK, we'll exchange numbers afterwards. | 0:05:11 | 0:05:14 | |
Was the third letter E? | 0:05:14 | 0:05:16 | |
-Indeed. -It was! Brilliant. | 0:05:16 | 0:05:17 | |
It was nothing to do with the face, I just liked you. | 0:05:17 | 0:05:20 | |
So, this time I want you to think of the entire word for me | 0:05:20 | 0:05:24 | |
cos I think I'll make a guess. Close your eyes for me. | 0:05:24 | 0:05:26 | |
OK, closing your eyes. | 0:05:26 | 0:05:28 | |
Now, this won't be right | 0:05:30 | 0:05:32 | |
but... | 0:05:32 | 0:05:34 | |
it should be at least close, OK. | 0:05:34 | 0:05:38 | |
-Now, can everyone read that? -Yeah. | 0:05:38 | 0:05:41 | |
Can everyone read that, OK? Now, for the first time out loud, | 0:05:41 | 0:05:44 | |
in a clear voice, what's the word you're thinking of? | 0:05:44 | 0:05:46 | |
Frequently. | 0:05:46 | 0:05:48 | |
Frequently, really? | 0:05:48 | 0:05:50 | |
Let me see! Let me see. Frequently! | 0:05:50 | 0:05:52 | |
APPLAUSE | 0:05:52 | 0:05:54 | |
Amazing. | 0:05:54 | 0:05:56 | |
Wow, thank you very much. | 0:05:57 | 0:05:59 | |
You know, at this point, almost everyone in the room | 0:05:59 | 0:06:02 | |
thinks I stopped on a page I wanted him to stop on. | 0:06:02 | 0:06:05 | |
I want to show that's not the case. | 0:06:05 | 0:06:06 | |
Open up to any page you like. Make sure that I can't see it. | 0:06:06 | 0:06:09 | |
Angle it up like this. | 0:06:09 | 0:06:11 | |
I'll ask you a question. | 0:06:11 | 0:06:12 | |
How many words would you say are on each of those pages? | 0:06:12 | 0:06:15 | |
-Several. -Ooh, well, now. | 0:06:15 | 0:06:16 | |
Try not to be too accurate. You should work in Stormont. | 0:06:16 | 0:06:19 | |
And how many pages would you say are in the entire book? | 0:06:19 | 0:06:22 | |
About 200? | 0:06:22 | 0:06:24 | |
-So we're talking about thousands of possible words. -Yep. | 0:06:24 | 0:06:27 | |
Choose any word you like. All I ask is that it's a good long one. | 0:06:27 | 0:06:30 | |
Nine, ten letters, a nice long one. Let me know when you've got it. | 0:06:30 | 0:06:33 | |
-Yep. -You keeping this a secret? | 0:06:33 | 0:06:35 | |
OK. Now, I'm not going to try and read your mind. | 0:06:35 | 0:06:38 | |
He is. | 0:06:38 | 0:06:40 | |
Now, all I want you to do is look him straight in the eye for me, | 0:06:40 | 0:06:43 | |
engage eye contact, and say the alphabet. Go. | 0:06:43 | 0:06:46 | |
ABCDEFGHIJKLMNOP | 0:06:46 | 0:06:49 | |
QRSTUVWXYZ. | 0:06:49 | 0:06:52 | |
You know there's no way for you to know what the letter is, | 0:06:52 | 0:06:55 | |
but forget that for a second and imagine you're in a world | 0:06:55 | 0:06:58 | |
you could genuinely tell him what the letter is. | 0:06:58 | 0:07:01 | |
It doesn't matter if he's wrong, although it will be hilarious. | 0:07:01 | 0:07:04 | |
What would you say is the first letter? | 0:07:04 | 0:07:06 | |
-V? -V, OK. | 0:07:06 | 0:07:07 | |
Be honest, what's the first letter? | 0:07:07 | 0:07:09 | |
-P. -P. | 0:07:09 | 0:07:11 | |
-Do you mind if I take over? -Sure. | 0:07:12 | 0:07:14 | |
But you did a great job. Give him a round of applause. Thank you. | 0:07:14 | 0:07:17 | |
APPLAUSE | 0:07:17 | 0:07:19 | |
Think of...this time, | 0:07:19 | 0:07:21 | |
this time, | 0:07:21 | 0:07:22 | |
I want you to think of the second letter of this for me. | 0:07:22 | 0:07:25 | |
I'm going to quickly say the alphabet. ABCDEFGH | 0:07:25 | 0:07:27 | |
IJKLMNO... was it H? | 0:07:27 | 0:07:29 | |
It was! Think about this in images, now. Think of this in shapes. | 0:07:29 | 0:07:33 | |
Say no to all these things. | 0:07:33 | 0:07:34 | |
-People? -No. -Places? -No. -Colours? | 0:07:34 | 0:07:36 | |
-No. -Shapes? -No. -Really interesting. You always look up and to the left. | 0:07:36 | 0:07:40 | |
That suggests something visual, pictorial, | 0:07:40 | 0:07:42 | |
something to do with images, | 0:07:42 | 0:07:43 | |
and you're smiling, that confirms it, cos you're easy too. | 0:07:43 | 0:07:46 | |
We'll try something different. | 0:07:46 | 0:07:48 | |
This is a game of word association. Whatever your word is, | 0:07:48 | 0:07:51 | |
-I want you to say any word that isn't that word. Does that make sense? -Yep. | 0:07:51 | 0:07:55 | |
I think it'll tell me a clue about your word. | 0:07:55 | 0:07:57 | |
So, in two seconds, any word in the world that isn't your word. Go. | 0:07:57 | 0:08:01 | |
Radiator. | 0:08:01 | 0:08:03 | |
Radiator? | 0:08:03 | 0:08:04 | |
You must host the most amazing parties. | 0:08:05 | 0:08:08 | |
-Oh, yes. -Close your eyes, close your eyes for me. | 0:08:08 | 0:08:11 | |
Now, this... | 0:08:11 | 0:08:13 | |
this, this isn't going to be right. | 0:08:18 | 0:08:20 | |
But it should at least be something like this. | 0:08:20 | 0:08:22 | |
OK, now, for the first time, | 0:08:22 | 0:08:24 | |
out loud, | 0:08:24 | 0:08:26 | |
what's the word you're thinking of? | 0:08:26 | 0:08:27 | |
-Photographer. -Seriously? Really? | 0:08:27 | 0:08:29 | |
Photographer? Let me see! | 0:08:29 | 0:08:31 | |
APPLAUSE | 0:08:31 | 0:08:33 | |
Photographer, excellent. | 0:08:33 | 0:08:35 | |
You can go back to your seat. Give him a round of applause. | 0:08:35 | 0:08:38 | |
In a nutshell, folks, that's what mentalism is. | 0:08:46 | 0:08:49 | |
And I've had about 20 years to perfect all of these techniques | 0:08:49 | 0:08:53 | |
but I've only had weeks to find and train the person | 0:08:53 | 0:08:56 | |
who's going to perform for you on this stage tonight | 0:08:56 | 0:08:59 | |
and I can't articulate how genuinely terrified I am. | 0:08:59 | 0:09:02 | |
It's one of the most challenging things I have ever, ever done. | 0:09:02 | 0:09:06 | |
But it looks like we've got just about everything we need. | 0:09:06 | 0:09:09 | |
We've got a stage, we've got an audience! | 0:09:09 | 0:09:12 | |
Before I continue, though, | 0:09:12 | 0:09:13 | |
this is at the very heart of what The Gift is all about. | 0:09:13 | 0:09:16 | |
But we'll get to that a bit later. | 0:09:16 | 0:09:18 | |
I've got almost everything I need, and now all I need is a protege. | 0:09:18 | 0:09:22 | |
And here's how I found them. | 0:09:22 | 0:09:23 | |
There's nothing like a cold early morning | 0:09:29 | 0:09:32 | |
to get the heart pumping. | 0:09:32 | 0:09:33 | |
That and putting out the call | 0:09:33 | 0:09:35 | |
to find the perfect recipient for The Gift. | 0:09:35 | 0:09:37 | |
Using radio, newspapers and social networking sites, | 0:09:37 | 0:09:40 | |
I've invited all comers to put themselves forward. | 0:09:40 | 0:09:43 | |
This is without doubt the most exciting thing I've ever done. | 0:09:43 | 0:09:48 | |
It's never been tried anywhere in the world before | 0:09:48 | 0:09:50 | |
and I'm terrified. | 0:09:50 | 0:09:53 | |
Out of the hundreds who responded, | 0:09:53 | 0:09:55 | |
I've chosen 32 people to experience a day of selection. | 0:09:55 | 0:09:58 | |
You never know what'll happen! | 0:09:58 | 0:10:01 | |
I'm excited. I'm just nervous. | 0:10:01 | 0:10:02 | |
Hopefully, somewhere in there | 0:10:02 | 0:10:04 | |
is the right person to receive The Gift. | 0:10:04 | 0:10:08 | |
I've no idea what to expect at all. | 0:10:08 | 0:10:10 | |
Nervous and excited. | 0:10:10 | 0:10:11 | |
I want to see how much he can mess with people's minds. | 0:10:11 | 0:10:14 | |
For me the big worry is that either I don't have enough time | 0:10:16 | 0:10:19 | |
or they don't have enough skills | 0:10:19 | 0:10:21 | |
or we don't get the right person who'll be able to do this. | 0:10:21 | 0:10:24 | |
If that happens, none of it will work. | 0:10:24 | 0:10:26 | |
What you are about to see may appear to be simple warm-up exercises | 0:10:31 | 0:10:34 | |
but don't be fooled. | 0:10:34 | 0:10:36 | |
All of this will inform my selection process later. | 0:10:36 | 0:10:40 | |
I'm looking for my chosen one from the outset. | 0:10:40 | 0:10:43 | |
I'm watching every move they make. | 0:10:43 | 0:10:45 | |
Stretch your arms out | 0:10:45 | 0:10:47 | |
and I want you to see that you're linked, you're tied together. | 0:10:47 | 0:10:50 | |
The best way to understand the mental is to get physical | 0:10:50 | 0:10:54 | |
and one of my favourite pastimes is tying people up. | 0:10:54 | 0:10:57 | |
I think I saw something like this online. | 0:10:57 | 0:10:59 | |
It's not what you think. | 0:10:59 | 0:11:01 | |
This is a mind game designed to loosen inhibitions. | 0:11:01 | 0:11:04 | |
Take two strangers, tie them together by the wrist, | 0:11:04 | 0:11:07 | |
then ask them to get free without untying the knots. | 0:11:07 | 0:11:10 | |
Great idea! | 0:11:10 | 0:11:11 | |
We tried wriggling around each other, but the more we did, | 0:11:11 | 0:11:15 | |
the more we tangled ourselves up. | 0:11:15 | 0:11:17 | |
It was annoying. I was stepping over his arms, | 0:11:17 | 0:11:19 | |
he was stepping underneath my legs, | 0:11:19 | 0:11:22 | |
we were upside down! | 0:11:22 | 0:11:24 | |
If we're to just look at that problem in a slightly different way, | 0:11:24 | 0:11:28 | |
-then perhaps that problem might be easier to solve. -Ah! | 0:11:28 | 0:11:31 | |
CLAPPING | 0:11:31 | 0:11:32 | |
Another little favourite to get any party swinging | 0:11:33 | 0:11:36 | |
is this pendulum game. | 0:11:36 | 0:11:38 | |
At the end of each piece of rope, | 0:11:38 | 0:11:40 | |
I've got the applicant to attach an item from their pocket | 0:11:40 | 0:11:43 | |
that they think is valuable. | 0:11:43 | 0:11:45 | |
In this case, a phone, some car keys | 0:11:45 | 0:11:48 | |
and what appears to be a half-chewed button. | 0:11:48 | 0:11:51 | |
Anyway, | 0:11:52 | 0:11:54 | |
then they simply dangle the rope and hold it steady. | 0:11:54 | 0:11:57 | |
But here, watch what happens. | 0:11:57 | 0:11:59 | |
-Are you making that happen? -No. | 0:12:01 | 0:12:03 | |
You're keeping your hand still. | 0:12:03 | 0:12:05 | |
-Look, it isn't moving a single millimetre. -No. | 0:12:05 | 0:12:08 | |
One minute you've got your eyes closed | 0:12:08 | 0:12:10 | |
and the pendulum is swinging back to front, | 0:12:10 | 0:12:12 | |
then you look and it's going in a circle, and you've no idea how. | 0:12:12 | 0:12:15 | |
I really appreciate your time. | 0:12:15 | 0:12:17 | |
I've got some useful information, but I'm not finished with you yet. | 0:12:17 | 0:12:20 | |
So, now I know what makes them tick, | 0:12:20 | 0:12:23 | |
it's time for the real selection process to begin. | 0:12:23 | 0:12:26 | |
In order to pick the right person, I've devised a simple game. | 0:12:28 | 0:12:31 | |
It's a comparison game. I call it Either/Or. | 0:12:31 | 0:12:34 | |
It's tea or coffee, | 0:12:34 | 0:12:36 | |
day or night, fight or flight | 0:12:36 | 0:12:38 | |
or Mum or Dad. What's interesting is, the answer to these questions | 0:12:38 | 0:12:41 | |
will tell me a bit about the person filling it in. | 0:12:41 | 0:12:44 | |
How they react under pressure, and what in their lives they consider important. | 0:12:44 | 0:12:48 | |
First, everyone chooses a seat at random, | 0:12:53 | 0:12:55 | |
and they all wear a name badge with their own unique number. | 0:12:55 | 0:12:58 | |
Pay attention, that will be important later. | 0:12:58 | 0:13:00 | |
Everyone has a survey? Everyone has a pen? | 0:13:02 | 0:13:04 | |
Good luck. Fill out your questionnaire. Go. | 0:13:04 | 0:13:07 | |
Everyone fills out their cards | 0:13:10 | 0:13:11 | |
and with the help of two random assistants, | 0:13:11 | 0:13:14 | |
we tally up the results of the survey. | 0:13:14 | 0:13:16 | |
I wonder how many will choose Mum over Dad. | 0:13:16 | 0:13:19 | |
Are you happy that you chose your own seats to sit in? | 0:13:19 | 0:13:23 | |
You're happy? OK, good. | 0:13:23 | 0:13:25 | |
If you could all reach under your seat for me, there's an envelope under there. | 0:13:25 | 0:13:29 | |
Now, inside one of these | 0:13:30 | 0:13:32 | |
is a million... Not really. | 0:13:32 | 0:13:34 | |
LAUGHTER | 0:13:34 | 0:13:35 | |
Most envelopes contain a blank sheet. | 0:13:35 | 0:13:39 | |
But some envelopes contain a green tick. | 0:13:39 | 0:13:42 | |
Those seats are very special to me. | 0:13:42 | 0:13:44 | |
Whoever has a tick, | 0:13:45 | 0:13:46 | |
if you could come up and stand behind the plinth. | 0:13:46 | 0:13:49 | |
Whoever has a tick. | 0:13:49 | 0:13:51 | |
'Now for the results of the survey. | 0:13:51 | 0:13:53 | |
'Remember I mentioned those numbered badges?' | 0:13:53 | 0:13:56 | |
Eight for tea, OK, we have eight for tea. | 0:13:56 | 0:13:59 | |
Nathan, you're number eight. | 0:13:59 | 0:14:01 | |
Yeah, I'm eight. | 0:14:01 | 0:14:03 | |
On your name badge, you were assigned number eight? | 0:14:03 | 0:14:06 | |
For coffee, we have 5, 10, 15, | 0:14:06 | 0:14:09 | |
20...24. OK, number 24? | 0:14:09 | 0:14:12 | |
OK, Lorna, you're number 24. | 0:14:14 | 0:14:16 | |
Fight, we have 14. | 0:14:16 | 0:14:19 | |
Anyone have a 14? You have a 14. | 0:14:19 | 0:14:20 | |
OK, and flight. We have 18. | 0:14:23 | 0:14:26 | |
You have an 18. | 0:14:26 | 0:14:29 | |
Then we have Mum, and 23. | 0:14:29 | 0:14:31 | |
Amanda. | 0:14:31 | 0:14:32 | |
And finally we have 5, 6, 7, 8...9. | 0:14:33 | 0:14:36 | |
You have a 9, yeah? | 0:14:36 | 0:14:37 | |
For day we have, is that 12? | 0:14:39 | 0:14:40 | |
-Yep. -Number 12? | 0:14:40 | 0:14:42 | |
'But it looks like two of the numbers haven't matched.' | 0:14:42 | 0:14:45 | |
Number 19? | 0:14:45 | 0:14:47 | |
Anyone, number 19? | 0:14:47 | 0:14:50 | |
No? No? | 0:14:50 | 0:14:51 | |
So, in six of the eight cases, | 0:14:51 | 0:14:53 | |
the group has actually selected the numbers that are on your chests | 0:14:53 | 0:14:57 | |
through their random musings and surveys, | 0:14:57 | 0:15:00 | |
so... | 0:15:00 | 0:15:02 | |
That makes you mental. | 0:15:03 | 0:15:05 | |
Six out of eight isn't bad. | 0:15:08 | 0:15:10 | |
They weren't exactly the eight I was expecting, | 0:15:10 | 0:15:14 | |
but that's the danger of mentalism. It doesn't always go to plan. | 0:15:14 | 0:15:17 | |
It also makes it slightly more terrifying | 0:15:19 | 0:15:21 | |
because one of you is going to do this on TV. | 0:15:21 | 0:15:24 | |
APPLAUSE | 0:15:24 | 0:15:27 | |
That was genuinely excruciating to watch for me | 0:15:30 | 0:15:34 | |
and I'm not pretending, because it really didn't go to plan. | 0:15:34 | 0:15:37 | |
That wasn't expected and it's always slightly mortifying | 0:15:37 | 0:15:40 | |
when I'm at the head of it. | 0:15:40 | 0:15:42 | |
I decided that's what mentalism is all about - | 0:15:42 | 0:15:44 | |
sometimes things don't go to plan | 0:15:44 | 0:15:46 | |
so I took all eight of them through anyway. | 0:15:46 | 0:15:48 | |
Here they are, my finalists. | 0:15:48 | 0:15:50 | |
Martin McNally from Strabane, Nathan McConnell from Lisburn, | 0:15:50 | 0:15:54 | |
Ciaran Judge from Coleraine, Sean McLaughlin from Randalstown, | 0:15:54 | 0:15:59 | |
Naomi Armstrong from Tynan, Lorna Billington from Portavogie, | 0:15:59 | 0:16:04 | |
Amanda Stewart from Magherafelt and Jennifer Wills from Millisle. | 0:16:04 | 0:16:08 | |
The fact is, though, anyone can learn to be a mentalist. | 0:16:08 | 0:16:11 | |
It's really easy, it's not divine or anything. It's not psychic. | 0:16:11 | 0:16:15 | |
It takes real nerves of steel to be able | 0:16:15 | 0:16:17 | |
to stand up in front of an audience of up to hundreds. | 0:16:17 | 0:16:20 | |
I needed to see just how brave they here, so I sent them to battle. | 0:16:20 | 0:16:24 | |
My eight participants begin their journey in a secluded car park. | 0:16:26 | 0:16:31 | |
Remember, only one of them will get the chance to receive The Gift. | 0:16:31 | 0:16:35 | |
I really don't know a thing. Where are we? | 0:16:35 | 0:16:39 | |
I don't know that. | 0:16:39 | 0:16:41 | |
The only thing I've told them - wear sensible footwear. | 0:16:41 | 0:16:45 | |
-I'm not sure everyone was paying attention. -They're pretty! | 0:16:45 | 0:16:48 | |
I hope in their confusion it hasn't slipped their minds that today | 0:16:50 | 0:16:53 | |
some of them are going to be eliminated. | 0:16:53 | 0:16:56 | |
Just so as they're not completely in the dark, | 0:16:56 | 0:16:59 | |
I've left a message to get them started. | 0:16:59 | 0:17:01 | |
Hello, everyone, and welcome to boot camp. | 0:17:01 | 0:17:05 | |
I want you to put on the fatigues on the floor | 0:17:05 | 0:17:08 | |
and listen to the safety briefing. | 0:17:08 | 0:17:10 | |
It's for your own good. | 0:17:10 | 0:17:11 | |
I was feeling very nervous this morning and now I know why. | 0:17:16 | 0:17:19 | |
I'm about to get shot at. | 0:17:22 | 0:17:24 | |
When it comes to being competitive and having to win, | 0:17:24 | 0:17:27 | |
I'm out there to win it. | 0:17:27 | 0:17:29 | |
You're mine, that's it. That's what I'm thinking, | 0:17:29 | 0:17:32 | |
I want to get out there and shoot some people. | 0:17:32 | 0:17:34 | |
OK, everybody. | 0:17:34 | 0:17:36 | |
Goggles must be worn at all times once you leave. | 0:17:36 | 0:17:39 | |
Goggles are never to be removed for any reason whatsoever | 0:17:39 | 0:17:42 | |
on the game field or the firing range. | 0:17:42 | 0:17:45 | |
This is not going to be good. | 0:17:45 | 0:17:47 | |
I'm going to pull goggles down over my glasses. | 0:17:47 | 0:17:50 | |
I'm not going to be able to see, it's very hot. | 0:17:50 | 0:17:53 | |
Should you lift your mask high enough to get hit in the eye, | 0:17:53 | 0:17:56 | |
-you will lose your eye. -Everybody's really going for it. | 0:17:56 | 0:18:00 | |
I can tell the guys are just going to go buck mad. God help us. | 0:18:00 | 0:18:03 | |
Let me say, you all look amazing. | 0:18:17 | 0:18:21 | |
-Thank you all for coming. A bit nervous? -Yes. -Really, yeah? | 0:18:23 | 0:18:27 | |
You're not going to be shooting each other | 0:18:27 | 0:18:29 | |
which I know is a disappointment to at least three of you. | 0:18:29 | 0:18:32 | |
Three of you sadists. But you're going to be shooting a piece of art. | 0:18:32 | 0:18:37 | |
Just like real artists, | 0:18:40 | 0:18:41 | |
the participants sign their canvases, although real artists | 0:18:41 | 0:18:45 | |
would normally wait until after the painting is finished. | 0:18:45 | 0:18:48 | |
Just in case it's rubbish. Everyone ready? | 0:18:48 | 0:18:51 | |
What sort of artist would use a paintball gun? | 0:18:51 | 0:18:55 | |
These would-be mentalists, obviously. | 0:18:55 | 0:18:57 | |
I want each of them to be as creative as possible. | 0:18:57 | 0:19:01 | |
This will help me later when it comes to deciding who to eliminate. | 0:19:01 | 0:19:05 | |
I'm going to place the pictures | 0:19:06 | 0:19:09 | |
in what I think is the order of artistic merit. | 0:19:09 | 0:19:12 | |
Come on in. So I've lined them up best to least best. | 0:19:12 | 0:19:17 | |
Now my participants have to rate where they think I've placed them. | 0:19:17 | 0:19:21 | |
Best being up here and slightly less best - | 0:19:21 | 0:19:24 | |
I don't want to say worst - less best down here. | 0:19:24 | 0:19:27 | |
Naomi, whenever you're ready, | 0:19:27 | 0:19:29 | |
go ahead and stand as you would rate yourself. | 0:19:29 | 0:19:32 | |
Now, they don't know it yet but these choices will decide | 0:19:32 | 0:19:35 | |
which of them stay in the running for The Gift. | 0:19:35 | 0:19:38 | |
Nathan clearly doesn't believe I like his artwork, | 0:19:38 | 0:19:42 | |
while Sean is supremely confident, choosing the top spot for himself. | 0:19:42 | 0:19:46 | |
Ladies and gentlemen, Sean. Let's hear it for Sean. | 0:19:47 | 0:19:51 | |
Sean, the outcome of this is really important. | 0:19:51 | 0:19:53 | |
How well this goes will dictate who progresses through | 0:19:53 | 0:19:57 | |
to the next round, because not all of you will, unfortunately. | 0:19:57 | 0:20:00 | |
They've made their choices, let's see if they stood | 0:20:00 | 0:20:03 | |
where I rated them. | 0:20:03 | 0:20:05 | |
Starting left to right. Nathan, did you stand in the right place? | 0:20:05 | 0:20:09 | |
You did. Let's hear it for Nathan, good job. | 0:20:09 | 0:20:12 | |
Amanda? Is that yours? | 0:20:12 | 0:20:15 | |
It is. All right, well done. | 0:20:15 | 0:20:16 | |
And we have Naomi's. And we have Lorna. Excellent. | 0:20:16 | 0:20:22 | |
Everyone right so far - oh, no! Jennifer's got it wrong. | 0:20:23 | 0:20:27 | |
Ah, so this one is Martin's. And Martin's got it wrong too. Whoops. | 0:20:27 | 0:20:31 | |
And so is Ciaran. Three in a row. | 0:20:31 | 0:20:35 | |
But Sean, who put himself in top place, seems to have got it right. | 0:20:35 | 0:20:39 | |
This is Sean's. | 0:20:39 | 0:20:40 | |
Statistically, I knew some of you wouldn't get this right | 0:20:40 | 0:20:44 | |
but I thought that Nathan would get it right. | 0:20:44 | 0:20:47 | |
That's why I've done "Congratulations, Nathan." | 0:20:47 | 0:20:51 | |
And I thought that Amanda would probably get it right | 0:20:51 | 0:20:54 | |
and so I've got "Congratulations, Amanda." | 0:20:54 | 0:20:56 | |
Hence why we've got "Congratulations, Naomi" | 0:20:56 | 0:20:59 | |
and "Congratulations, Lorna" | 0:20:59 | 0:21:01 | |
and I thought that Sean would get it right. | 0:21:01 | 0:21:04 | |
That's why we have "Congratulations, Sean." | 0:21:04 | 0:21:08 | |
So, we have three here that haven't got them correct | 0:21:08 | 0:21:12 | |
and I need to show you, because behind here, unfortunately | 0:21:12 | 0:21:16 | |
I thought you would stand in the wrong position, Jennifer. | 0:21:16 | 0:21:20 | |
I thought, Martin, you would stand in the wrong position. | 0:21:20 | 0:21:25 | |
Then I thought that Ciaran, you would stand in the wrong position. | 0:21:25 | 0:21:29 | |
Folks, I'm really sorry but unfortunately, | 0:21:29 | 0:21:32 | |
because you went for those positions, | 0:21:32 | 0:21:34 | |
I can't move you through to the next stage of The Gift. | 0:21:34 | 0:21:39 | |
So, only five remain. Sean, Lorna, Nathan, Amanda and Naomi. | 0:21:45 | 0:21:50 | |
I've decided to reward them with a little treat. | 0:21:51 | 0:21:54 | |
For one or two of them, today will have been quite stressful, | 0:21:54 | 0:21:59 | |
so I'd like to treat them, because I really appreciate their time. | 0:21:59 | 0:22:02 | |
So, I'm taking them out for some ice cream | 0:22:02 | 0:22:05 | |
and a little game of Pass the Parcel. | 0:22:05 | 0:22:07 | |
Tuck in, my little munchkins. Enjoy it while you can. | 0:22:09 | 0:22:13 | |
Lovely. Thank you very much indeed. There we are. Thank you. | 0:22:14 | 0:22:18 | |
We're going to play a really simple game of Pass the Parcel. | 0:22:18 | 0:22:22 | |
This parcel is going to be passed around | 0:22:22 | 0:22:24 | |
but I don't want it to be an ordinary game. | 0:22:24 | 0:22:26 | |
If you receive the parcel, you can if you wish, | 0:22:26 | 0:22:28 | |
pass it back to the person who's given it to you. | 0:22:28 | 0:22:31 | |
Or if you want to be really clever, you can pass it across the table. | 0:22:31 | 0:22:34 | |
You can pass it across the table like that, should you wish, | 0:22:34 | 0:22:37 | |
or back over to me. Easy! | 0:22:37 | 0:22:39 | |
If you've got a phone, you've got a lawyer. | 0:22:39 | 0:22:43 | |
At one point, one of you, I want you to stop and say, | 0:22:43 | 0:22:46 | |
if you get the urge, "I want to keep it." | 0:22:46 | 0:22:49 | |
Whenever we're ready, I think I'm going to pass it... | 0:22:49 | 0:22:54 | |
this way. | 0:22:57 | 0:22:59 | |
For my ideal successful candidate, | 0:23:00 | 0:23:03 | |
making a correct decision at the right time is crucial. | 0:23:03 | 0:23:06 | |
-A mistake now could cost you the lot. -Don't do that! | 0:23:06 | 0:23:10 | |
-I'm going to keep this. -You're keeping it? | 0:23:12 | 0:23:15 | |
Feels like a good decision? | 0:23:15 | 0:23:17 | |
So, Naomi has decided to keep the parcel. | 0:23:19 | 0:23:22 | |
"To Naomi." If you want to read that out for me. | 0:23:29 | 0:23:32 | |
"I can't thank you enough for taking part but if you chose | 0:23:32 | 0:23:35 | |
"to open it, your journey ends here." | 0:23:35 | 0:23:37 | |
Your journey ends here. I'm really sorry, Naomi. | 0:23:37 | 0:23:40 | |
Let's hear it for Naomi, everyone. | 0:23:40 | 0:23:44 | |
APPLAUSE | 0:23:44 | 0:23:46 | |
Jennifer, Martin, Ciaran and Naomi, thank you so much for taking part. | 0:23:51 | 0:23:55 | |
I hope you enjoyed it. | 0:23:55 | 0:23:56 | |
Jennifer, if you don't mind me asking, | 0:23:56 | 0:23:59 | |
do you think your picture points out any underlying anger issues? | 0:23:59 | 0:24:03 | |
-No. -What do you think your picture says about you? | 0:24:03 | 0:24:06 | |
-I think bold but messy. -Bold but messy? | 0:24:06 | 0:24:08 | |
You've obviously had some time to think about that, I'm sure | 0:24:08 | 0:24:11 | |
a psychologist would say vastly different. | 0:24:11 | 0:24:14 | |
But you all did a fantastic job | 0:24:14 | 0:24:16 | |
and I don't want you to leave empty-handed. | 0:24:16 | 0:24:19 | |
Put your pictures down on the ground for me | 0:24:19 | 0:24:21 | |
and there are some gifts behind you there. | 0:24:21 | 0:24:23 | |
Take whatever gift you like and go ahead and take a seat and relax. | 0:24:23 | 0:24:26 | |
Ladies and gentlemen, Jennifer, Martin and Ciaran! | 0:24:26 | 0:24:30 | |
APPLAUSE | 0:24:30 | 0:24:33 | |
Now, Naomi, I hope you don't end up | 0:24:35 | 0:24:37 | |
with some pathological fear of Pass the Parcel. | 0:24:37 | 0:24:39 | |
It really isn't out to get you, | 0:24:39 | 0:24:41 | |
-but did you enjoy your time in the process? -I did, it was really fun. | 0:24:41 | 0:24:44 | |
You did a fantastic job. I know you would have loved to have got it. | 0:24:44 | 0:24:48 | |
But you're not going to leave empty-handed, | 0:24:48 | 0:24:50 | |
there's a gift for you as well. Pick whatever one you like, Naomi. | 0:24:50 | 0:24:53 | |
You can have a totally free choice and take a seat. Naomi, everyone. | 0:24:53 | 0:24:58 | |
So, four have been eliminated and four remain. | 0:25:02 | 0:25:05 | |
We need to whittle it down a little bit further and I decided | 0:25:05 | 0:25:08 | |
to take the remainders on a world tour without leaving Belfast. | 0:25:08 | 0:25:12 | |
It's first thing in the morning, it's freezing, | 0:25:12 | 0:25:15 | |
I'd much rather be in bed but I'm going on a bus tour. | 0:25:15 | 0:25:18 | |
And I'm not going alone. | 0:25:22 | 0:25:23 | |
My four remaining contenders for The Gift - | 0:25:23 | 0:25:26 | |
Amanda, Nathan, Lorna and Sean - | 0:25:26 | 0:25:28 | |
are going to join me. | 0:25:28 | 0:25:30 | |
It's really important you listen to everything, that's critical. | 0:25:32 | 0:25:35 | |
As you look at all these places, I want you to consider... | 0:25:35 | 0:25:39 | |
how painful that was! | 0:25:39 | 0:25:41 | |
Whoever receives The Gift must be able to retain information | 0:25:41 | 0:25:45 | |
so we're going on a world tour from a Belfast bus. | 0:25:45 | 0:25:48 | |
I want to see if each of this merry band of tourists | 0:25:48 | 0:25:51 | |
are travelling in my direction and our first stop - | 0:25:51 | 0:25:55 | |
the world-famous Crown Bar with its Italian design. | 0:25:55 | 0:25:58 | |
Michael Flanagan was the previous owner | 0:25:58 | 0:26:00 | |
when it came into its current opulence. | 0:26:00 | 0:26:02 | |
It was his son Patrick who made the bar famous. | 0:26:02 | 0:26:05 | |
He was a student of architecture and travelled around the world | 0:26:05 | 0:26:08 | |
and managed, in 1885, to convince a lot of craftsmen who were over | 0:26:08 | 0:26:13 | |
building huge cathedrals and catholic churches here, | 0:26:13 | 0:26:16 | |
to moonlight and work in the evening | 0:26:16 | 0:26:18 | |
on the stunning architecture of the Crown. | 0:26:18 | 0:26:21 | |
Now, coming up very shortly, we have City Hall. | 0:26:22 | 0:26:25 | |
It's been a building that has influenced | 0:26:25 | 0:26:27 | |
countless buildings across the world. So much so, | 0:26:27 | 0:26:30 | |
I have a little image here of the Victoria Memorial in Calcutta. | 0:26:30 | 0:26:34 | |
It's virtually identical to Belfast City Hall. | 0:26:34 | 0:26:38 | |
It's so close, it's actually stunning. | 0:26:38 | 0:26:41 | |
Now, the illustrious Albert Clock. | 0:26:41 | 0:26:44 | |
The building stands at 113 feet tall. | 0:26:44 | 0:26:47 | |
The design elements you see there that are most | 0:26:47 | 0:26:49 | |
eye-catching are actually very French and Italian influences. | 0:26:49 | 0:26:53 | |
That means it will tell you the time | 0:26:53 | 0:26:55 | |
but will do it with a little bit of arrogance. | 0:26:55 | 0:26:57 | |
Just a touch. | 0:27:00 | 0:27:01 | |
Yes, it's all fun and games but this process is no laughing matter. | 0:27:02 | 0:27:06 | |
While they've been observing the world, I've been observing them. | 0:27:06 | 0:27:11 | |
The fascinating thing is that Belfast really is a lens | 0:27:13 | 0:27:18 | |
and a window to the world. | 0:27:18 | 0:27:20 | |
Take a marker now for me. Any one you like. | 0:27:20 | 0:27:22 | |
Starting from Belfast, my participants | 0:27:22 | 0:27:24 | |
are going to take a trip around the world with their markers. | 0:27:24 | 0:27:27 | |
I want you to know you can travel anywhere you wish. | 0:27:27 | 0:27:30 | |
You can go left, right, up, down, round in a circle. | 0:27:30 | 0:27:33 | |
Whenever you're ready, folks, I want you to separate now. | 0:27:33 | 0:27:36 | |
I want you to travel past anywhere you wish. | 0:27:39 | 0:27:41 | |
Travel anywhere in the world and I don't mind | 0:27:41 | 0:27:43 | |
if you have to go over or under. | 0:27:43 | 0:27:45 | |
Now, the wider your path goes, the more random this is. | 0:27:45 | 0:27:49 | |
It's almost elimination time. Let's hope I've mapped this out correctly. | 0:27:49 | 0:27:53 | |
I want you to find somewhere to stop. | 0:27:53 | 0:27:56 | |
Amanda, I'm going to do this one at a time. | 0:27:56 | 0:27:58 | |
Pull it out and tell me where you decided to stop. | 0:27:58 | 0:28:01 | |
What's under your marker? | 0:28:01 | 0:28:03 | |
-Wellington in New Zealand. -Ever been before? -No. -Random? -Yeah. | 0:28:03 | 0:28:07 | |
I thought, Amanda, that you would go to Wellington. | 0:28:07 | 0:28:13 | |
That is the little green dot there, that's where you chose to stop? | 0:28:13 | 0:28:17 | |
Happy, yes? | 0:28:17 | 0:28:19 | |
-Lorna, what about you? -Algiers, in Algeria. | 0:28:19 | 0:28:22 | |
OK, all the way up to there. A circle around. | 0:28:23 | 0:28:27 | |
And yours was pink, Lorna? | 0:28:27 | 0:28:28 | |
Let's just double-check. I realise it's slightly difficult to follow. | 0:28:28 | 0:28:33 | |
Right through there, right through Algiers. What about you, Sean? | 0:28:33 | 0:28:36 | |
-Reykjavik in Iceland. -You were up here. | 0:28:36 | 0:28:40 | |
-There we have Sean in Reykjavik. Next is Nathan. -I'm over here. | 0:28:40 | 0:28:47 | |
-You're over here? Where did you go? -I'm in Japan in Tokyo. | 0:28:47 | 0:28:50 | |
You actually did a little bit of a loop-the-loop here. | 0:28:50 | 0:28:53 | |
-Be honest, was that Lorna's fault? -It was. -He says it's your fault. | 0:28:53 | 0:28:58 | |
I thought that Sean would go to Tokyo in Japan. | 0:29:01 | 0:29:04 | |
I had done a little circle around it but I changed my mind | 0:29:04 | 0:29:07 | |
and I eventually thought, Nathan, | 0:29:07 | 0:29:09 | |
you would end up on the east coast of America. | 0:29:09 | 0:29:13 | |
-Did you think of anywhere like that? -I didn't, no. | 0:29:13 | 0:29:15 | |
I had a couple of places in mind but not over towards America. | 0:29:15 | 0:29:18 | |
I've got Amanda's, Sean's and Lorna's destinations correct, | 0:29:18 | 0:29:24 | |
But sadly it's now clear that Nathan and I are worlds apart. | 0:29:24 | 0:29:28 | |
Thank you so much for coming. We can do a man hug? | 0:29:30 | 0:29:33 | |
Let's hear it for Nathan, everybody. | 0:29:33 | 0:29:37 | |
I don't know what he was looking for | 0:29:37 | 0:29:38 | |
and I don't know what would make a good mentalist. | 0:29:38 | 0:29:41 | |
I reckon Sean, maybe. If I had to guess, I would go for Sean, I reckon. | 0:29:41 | 0:29:45 | |
So, only three remain. Sean, Amanda and Lorna. | 0:29:46 | 0:29:51 | |
Painful as this is, I can't stop there | 0:29:51 | 0:29:53 | |
because only one person can receive The Gift. | 0:29:53 | 0:29:57 | |
I've brought my participants to a secure location. | 0:29:57 | 0:30:00 | |
No, they're not training to become cat burglars. | 0:30:00 | 0:30:04 | |
To be a great mentalist, you have to work on instinct. | 0:30:04 | 0:30:07 | |
So, I've decided to see how they cope | 0:30:07 | 0:30:10 | |
when I remove a few of their senses. | 0:30:10 | 0:30:12 | |
I'm going to ask you to open up your presents for me now. | 0:30:12 | 0:30:15 | |
They've each chosen a seat with a gift | 0:30:17 | 0:30:19 | |
which they now need to open with these sensory impediments. | 0:30:19 | 0:30:23 | |
Your senses will be fooling you now. | 0:30:23 | 0:30:26 | |
T-shirt? | 0:30:28 | 0:30:29 | |
Now, your next job is to put that T-shirt on. | 0:30:29 | 0:30:32 | |
Round one make sure it's on the right way round. | 0:30:34 | 0:30:37 | |
Round two now. | 0:30:37 | 0:30:39 | |
I want the three of you to write your name backwards. | 0:30:39 | 0:30:44 | |
I want you to write it in mirror form. | 0:30:44 | 0:30:46 | |
I often use the writing backwards technique | 0:30:46 | 0:30:48 | |
to stimulate my grey matter. | 0:30:48 | 0:30:51 | |
It's also a great game to play at your next festive family party, | 0:30:51 | 0:30:54 | |
maybe. | 0:30:54 | 0:30:56 | |
I've written on the desk. | 0:30:56 | 0:30:58 | |
Lorna's is...interesting. | 0:31:00 | 0:31:03 | |
Sean's is near-perfect. | 0:31:03 | 0:31:05 | |
Amanda's also done a pretty good job. | 0:31:05 | 0:31:07 | |
Now, for round three. Let's seem how well they do with this one. | 0:31:09 | 0:31:12 | |
In a moment, you're going to have your first opportunity | 0:31:12 | 0:31:16 | |
to try and read a mind. | 0:31:16 | 0:31:18 | |
Now, I'm going to scribble a number here. | 0:31:18 | 0:31:22 | |
OK. Now this is a two digit number. | 0:31:24 | 0:31:26 | |
So, I want each of you to take a guess | 0:31:26 | 0:31:29 | |
at this two digit number. | 0:31:29 | 0:31:31 | |
I believe it to be 20. | 0:31:31 | 0:31:33 | |
-45. -72. | 0:31:33 | 0:31:35 | |
72? Pick it up and see who got closest. | 0:31:38 | 0:31:42 | |
22? | 0:31:42 | 0:31:44 | |
22. So, closest was Sean. | 0:31:44 | 0:31:47 | |
So, Sean, you're definitely in the final two. | 0:31:47 | 0:31:51 | |
So let's hear it for Sean. | 0:31:51 | 0:31:53 | |
Sean's place is safe, but it comes at a price. | 0:31:53 | 0:31:56 | |
He has to select who's in and who's out. | 0:31:56 | 0:31:59 | |
You're going to choose one to go through to the next round. | 0:31:59 | 0:32:03 | |
To keep it random, | 0:32:03 | 0:32:04 | |
Amanda puts her own photo and Lorna's photo | 0:32:04 | 0:32:06 | |
into two separate envelopes and gives them a wee shuffle. | 0:32:06 | 0:32:11 | |
Sean can't possibly know which envelope contains which. | 0:32:11 | 0:32:14 | |
You're going to take both of those envelopes towards you. | 0:32:14 | 0:32:17 | |
Go ahead and do that now. | 0:32:17 | 0:32:19 | |
Sean, whoever you slide across the table...is in. | 0:32:19 | 0:32:24 | |
Whenever you're ready, slide one all the way over to me. | 0:32:24 | 0:32:28 | |
Before you do that... | 0:32:28 | 0:32:30 | |
I'm going to give you the opportunity, | 0:32:32 | 0:32:35 | |
you can take it back, or that can be your fixed choice. | 0:32:35 | 0:32:37 | |
-No, I'm happy. -Happy? -Yeah. | 0:32:37 | 0:32:40 | |
And Lorna is out. | 0:32:42 | 0:32:44 | |
-Lorna. -It's all right. -Sorry, Lorna. -That's OK. | 0:32:47 | 0:32:50 | |
I did have a thought though... of exactly how this will play out. | 0:32:50 | 0:32:54 | |
If you could stand up for me, please, Amanda. | 0:32:54 | 0:32:57 | |
And if you could turn out, Lorna, | 0:32:57 | 0:32:58 | |
could you read what it says on the back of Amanda's T-shirt? | 0:32:58 | 0:33:02 | |
-In. -Amanda, would you read what's on the back of Lorna's? | 0:33:02 | 0:33:06 | |
Out. | 0:33:06 | 0:33:07 | |
Ladies, could you turn around for me | 0:33:07 | 0:33:09 | |
and read what it says on the back of Sean's T-shirt. | 0:33:09 | 0:33:13 | |
Both at the same time, please. | 0:33:13 | 0:33:14 | |
My choice will be Amanda, in, Lorna, out. | 0:33:14 | 0:33:18 | |
My number will be off by two. | 0:33:18 | 0:33:21 | |
Nooo! | 0:33:21 | 0:33:23 | |
Off by two? | 0:33:23 | 0:33:26 | |
That's just uncanny. | 0:33:26 | 0:33:28 | |
APPLAUSE | 0:33:28 | 0:33:30 | |
Nathan and Lorna, I've enjoyed working with you so much. | 0:33:33 | 0:33:36 | |
Nathan, you've decided to go to Tokyo. | 0:33:36 | 0:33:39 | |
Is that somewhere you've always wanted to go to? | 0:33:39 | 0:33:42 | |
Yeah. I'm quite interested in Japan and Asia. | 0:33:42 | 0:33:46 | |
I'd never have got that. | 0:33:46 | 0:33:48 | |
Lorna, you must've been disappointed | 0:33:48 | 0:33:50 | |
to be pipped just before the final two. | 0:33:50 | 0:33:53 | |
Er, no. | 0:33:53 | 0:33:54 | |
To be honest with you, it was interesting to see | 0:33:54 | 0:33:57 | |
I got nearly as far as the end. | 0:33:57 | 0:33:59 | |
Well, that is a glass half full if ever I've heard it. | 0:33:59 | 0:34:02 | |
You're not leaving empty-handed. There are presents on the floor. | 0:34:02 | 0:34:06 | |
Pick one and take a seat. Lorna and Nathan, everyone. Thank you. | 0:34:06 | 0:34:10 | |
APPLAUSE | 0:34:10 | 0:34:12 | |
So, only Sean and Amanda remain. | 0:34:18 | 0:34:20 | |
So the only question is who will receive The Gift? | 0:34:20 | 0:34:23 | |
There's only one way to find out. | 0:34:23 | 0:34:26 | |
# Christmas | 0:34:26 | 0:34:28 | |
# The snow's coming down | 0:34:28 | 0:34:30 | |
# Christmas | 0:34:30 | 0:34:31 | |
# I'm watching it fall... # | 0:34:31 | 0:34:34 | |
Christmas is coming and so is the end of this process. | 0:34:34 | 0:34:37 | |
What better way to finish but at the Continental Christmas Market? | 0:34:37 | 0:34:41 | |
# Christmas | 0:34:41 | 0:34:43 | |
# The church bells sound | 0:34:43 | 0:34:45 | |
# Christmas... # | 0:34:45 | 0:34:48 | |
Although it is bittersweet because this is the decider. | 0:34:48 | 0:34:52 | |
Will Sean or Amanda receive The Gift? | 0:34:52 | 0:34:55 | |
Well, it's all come down to this, | 0:34:56 | 0:34:59 | |
and it is just this. | 0:34:59 | 0:35:00 | |
But the decision is out of my hands. | 0:35:00 | 0:35:02 | |
The decision is down to you two | 0:35:02 | 0:35:04 | |
I want you both to know that either of you could do this. | 0:35:04 | 0:35:07 | |
Either one of you would be perfect, and for that reason, | 0:35:07 | 0:35:10 | |
I'm taking away some responsibility and handing to you. | 0:35:10 | 0:35:14 | |
I have an envelope here. Now, in a moment, | 0:35:14 | 0:35:17 | |
I'm going to give both of you the opportunity to take this envelope. | 0:35:17 | 0:35:22 | |
Now, one of you will take it and one of you won't. | 0:35:22 | 0:35:24 | |
You'll decide whether you want to take it, | 0:35:24 | 0:35:26 | |
or you want to leave it to someone else to decide your fate, OK? | 0:35:26 | 0:35:31 | |
Now... | 0:35:31 | 0:35:33 | |
I just wanted to take a couple of seconds now | 0:35:35 | 0:35:37 | |
and think about what you want to do. | 0:35:37 | 0:35:40 | |
Think about what your strategy is. | 0:35:40 | 0:35:42 | |
Think about what this means to you. | 0:35:42 | 0:35:44 | |
I want you to think about how much you want this. | 0:35:44 | 0:35:48 | |
Now, we could sit here for 20 minutes... | 0:35:53 | 0:35:57 | |
APPLAUSE | 0:35:59 | 0:36:02 | |
Now, I don't want you to give anything away, | 0:36:06 | 0:36:09 | |
I don't want you to give anything away just yet. | 0:36:09 | 0:36:12 | |
We're going to have a quick little poll. | 0:36:12 | 0:36:14 | |
If you think Amanda's going to receive The Gift, cheer, please. | 0:36:14 | 0:36:18 | |
And if you think Sean's going to receive The Gift, | 0:36:18 | 0:36:21 | |
can I have a cheer, please? | 0:36:21 | 0:36:24 | |
Well, let's see. Who will be the one? | 0:36:26 | 0:36:29 | |
Sean, you have done a very brave thing. How do you feel? | 0:36:31 | 0:36:35 | |
Erm... | 0:36:35 | 0:36:38 | |
a bit bolshy. | 0:36:38 | 0:36:40 | |
-A bit bolshy. OK. Do you feel confident? -Yep. | 0:36:40 | 0:36:43 | |
It takes a very, brave person, Sean, to take control of their decisions. | 0:36:43 | 0:36:47 | |
A very, very brave person. | 0:36:47 | 0:36:49 | |
And I want both of you to know that no matter what happens... | 0:36:49 | 0:36:54 | |
I believe that either one of you | 0:36:54 | 0:36:55 | |
could have done an amazing job at this. | 0:36:55 | 0:36:59 | |
Sean, do you want to go ahead there? | 0:36:59 | 0:37:02 | |
I just want you to see before we go here. | 0:37:05 | 0:37:08 | |
Give us a wee read there. We want you to read that out. | 0:37:10 | 0:37:13 | |
The person who grabs the envelope | 0:37:13 | 0:37:15 | |
and takes control will not receive The Gift. | 0:37:15 | 0:37:19 | |
PS, sorry, Sean. Congratulations, Amanda. | 0:37:19 | 0:37:23 | |
A cheer for Amanda! | 0:37:23 | 0:37:25 | |
Congratulations, Amanda, | 0:37:34 | 0:37:36 | |
but commiserations, Sean. | 0:37:36 | 0:37:38 | |
How did it feel to fall at the last hurdle, Sean? | 0:37:38 | 0:37:41 | |
It was very disappointing if truth be told. | 0:37:41 | 0:37:44 | |
The whole process was amazing from start to finish. | 0:37:44 | 0:37:47 | |
I couldn't have asked for a better person to get The Gift. | 0:37:47 | 0:37:52 | |
You would've been an amazing protege. | 0:37:52 | 0:37:54 | |
But you're not leaving empty-handed. | 0:37:54 | 0:37:57 | |
We've got two gifts there. Take any one that you wish | 0:37:57 | 0:38:00 | |
and go and have a little seat with your friends. Sean, everyone. | 0:38:00 | 0:38:04 | |
-Amanda... -Yes? | 0:38:13 | 0:38:15 | |
..audience. | 0:38:15 | 0:38:17 | |
-Audience, Amanda. -Hi! | 0:38:17 | 0:38:19 | |
I'm sure you're very nervous, and a lot of people here | 0:38:21 | 0:38:25 | |
will be asking, just how did you train someone to be a mentalist? | 0:38:25 | 0:38:29 | |
Here's a little bit of how Amanda became my protege. | 0:38:29 | 0:38:32 | |
I'm getting to know Amanda | 0:38:33 | 0:38:35 | |
and she's getting to know some of my techniques. | 0:38:35 | 0:38:40 | |
Today, I'm going to bring her to the very place she's going to perform. | 0:38:40 | 0:38:44 | |
I'm going to teach her how to perform as a mentalist, | 0:38:44 | 0:38:47 | |
but obviously I'm not going to show any of it to you lot. | 0:38:47 | 0:38:51 | |
You're not getting this gift for Christmas! But I will show you this. | 0:38:51 | 0:38:55 | |
Mix them up as much as you like as well. | 0:38:55 | 0:38:57 | |
And whenever you're ready, I'd like you to go ahead | 0:38:57 | 0:39:01 | |
and start sticking letters onto that page. | 0:39:01 | 0:39:04 | |
Keeping your eyes closed. | 0:39:04 | 0:39:07 | |
I'm going to fold this up and, er, | 0:39:07 | 0:39:09 | |
if I could ask you to sign your name there for me. | 0:39:09 | 0:39:12 | |
-OK. -As a mentalist, | 0:39:12 | 0:39:14 | |
you have to authenticate everything, | 0:39:14 | 0:39:17 | |
so Amanda must get used to signing all of her work. | 0:39:17 | 0:39:20 | |
I don't want what's coming out of your hand | 0:39:20 | 0:39:22 | |
to be the pictures in your head. | 0:39:22 | 0:39:24 | |
I just want you to do random shapes and random items | 0:39:24 | 0:39:27 | |
and random objects as you're thinking of things, OK? | 0:39:27 | 0:39:30 | |
Next, it's all about communicating visually, | 0:39:30 | 0:39:33 | |
and in this case, through pictures. | 0:39:33 | 0:39:35 | |
And again, I want you to think in shapes. This is all about shapes. | 0:39:35 | 0:39:39 | |
Only when Amanda has filled each page | 0:39:39 | 0:39:42 | |
do we move on to the next technique. | 0:39:42 | 0:39:45 | |
What sort of things were you thinking about? | 0:39:45 | 0:39:48 | |
Just as if I was walking through the shop. | 0:39:48 | 0:39:50 | |
Things that I would like that I can't afford. | 0:39:50 | 0:39:54 | |
The next two techniques are really challenging. | 0:39:54 | 0:39:58 | |
Backwards writing and writing with the opposite hand. | 0:39:58 | 0:40:02 | |
What's going through your head? | 0:40:02 | 0:40:04 | |
It's weird, holding the pen in my left hand. | 0:40:04 | 0:40:06 | |
This practice should bring Amanda closer to receiving The Gift. | 0:40:06 | 0:40:10 | |
Now, are you happy, Amanda? | 0:40:13 | 0:40:15 | |
You've made four sort of squiggly, weird, free association images here. | 0:40:15 | 0:40:20 | |
Some are words, some are letters, some are just random newsprint. | 0:40:20 | 0:40:23 | |
-Are you happy that that was all random? -Yes. | 0:40:23 | 0:40:26 | |
-And you didn't think about what you were doing? -No. | 0:40:26 | 0:40:29 | |
That's important. One of the biggest gifts that a mentalist has | 0:40:29 | 0:40:32 | |
-is his ability to seemingly predict the future. -OK. | 0:40:32 | 0:40:35 | |
But I thought that if I told you I wanted you | 0:40:35 | 0:40:39 | |
to predict the future, you'd get nervous, you'd get confused, | 0:40:39 | 0:40:42 | |
you'd feel awkward and it might feel a lot more difficult | 0:40:42 | 0:40:45 | |
than it actually was. | 0:40:45 | 0:40:47 | |
So, I'm not going to ask you to do that now | 0:40:47 | 0:40:50 | |
cos I think you might have already done so, | 0:40:50 | 0:40:53 | |
cos what you don't realise | 0:40:53 | 0:40:55 | |
-is you've already made your prediction. -Oh. OK. | 0:40:55 | 0:40:58 | |
-It's going to be one of these. -Right. | 0:40:58 | 0:41:01 | |
So, Amanda, which one of these do you want? | 0:41:01 | 0:41:04 | |
Just pick it up. | 0:41:04 | 0:41:06 | |
-That one? -Yeah. | 0:41:07 | 0:41:09 | |
Amanda, that is going to be your final prophecy. | 0:41:09 | 0:41:13 | |
And to make sure that there's no way | 0:41:13 | 0:41:16 | |
that anyone can tamper with your prophecy... | 0:41:16 | 0:41:19 | |
Inside here I have a bank security tube. | 0:41:21 | 0:41:24 | |
This is made from 6mm thick security plastic. | 0:41:24 | 0:41:27 | |
Banks use these to store birth certificates | 0:41:27 | 0:41:30 | |
and bank account details and things like. | 0:41:30 | 0:41:33 | |
So, Amanda, I'm going to ask you to take that prophecy | 0:41:33 | 0:41:36 | |
and pop it inside for me. | 0:41:36 | 0:41:38 | |
Pop it inside. | 0:41:38 | 0:41:40 | |
OK, Amanda. And that is going to be kept... | 0:41:40 | 0:41:44 | |
inside here. | 0:41:44 | 0:41:47 | |
In it goes. Yep, key out. | 0:41:47 | 0:41:49 | |
-Lovely. -Key out? -Yep, key out. | 0:41:49 | 0:41:52 | |
I want you to hang onto those keys, make sure no-one can get to it, | 0:41:52 | 0:41:56 | |
I need to take a moment to wish you good luck. How are you feeling? | 0:41:56 | 0:42:01 | |
Er...not very confident that that's going to predict anything, | 0:42:01 | 0:42:05 | |
but then, who knows? | 0:42:05 | 0:42:08 | |
All right, Amanda. | 0:42:08 | 0:42:10 | |
So this is for you. | 0:42:10 | 0:42:12 | |
'So I've done all I can do now. | 0:42:12 | 0:42:15 | |
'Hopefully I've chosen the right person | 0:42:15 | 0:42:18 | |
'and all of my coaching will pay off | 0:42:18 | 0:42:21 | |
'because from now on, it's all up to Amanda.' | 0:42:21 | 0:42:24 | |
APPLAUSE | 0:42:24 | 0:42:26 | |
Well, Amanda, did you enjoy that? | 0:42:32 | 0:42:35 | |
Er...no! | 0:42:35 | 0:42:37 | |
It's not great seeing yourself on TV. | 0:42:37 | 0:42:40 | |
How are you feeling about the experience? | 0:42:40 | 0:42:42 | |
Extremely nervous, but I'm really glad to be here. | 0:42:42 | 0:42:46 | |
We've had a lot of intensive training, so I believe | 0:42:46 | 0:42:49 | |
that will put you in some good stead. | 0:42:49 | 0:42:51 | |
Let me show you how this is going to work. | 0:42:51 | 0:42:53 | |
We have a ballot bowl here full of ballot tickets. | 0:42:53 | 0:42:56 | |
The tickets match the numbers | 0:42:56 | 0:42:57 | |
that people are wearing. 100 people were randomly assigned these | 0:42:57 | 0:43:01 | |
when they came in. | 0:43:01 | 0:43:02 | |
This is how you'll select your challenger. | 0:43:02 | 0:43:05 | |
I want you to reach in and give it a good mix up. | 0:43:05 | 0:43:07 | |
There are no duplicates in there. | 0:43:07 | 0:43:09 | |
Give it a good mix up and then select sort of four or five. | 0:43:09 | 0:43:12 | |
Any four or five that you like. | 0:43:12 | 0:43:15 | |
That's probably a nice little random sample from various places. | 0:43:15 | 0:43:18 | |
And I want you to select just one of those and give it to me. | 0:43:18 | 0:43:22 | |
Lovely. Excellent. | 0:43:22 | 0:43:24 | |
Now I want you to open the rest for me. | 0:43:24 | 0:43:26 | |
Open the rest and see just who you've got there. | 0:43:26 | 0:43:29 | |
We can look at a few of these. We've got 186 and 191. | 0:43:29 | 0:43:33 | |
186 and 191, raise your hands for me, please. | 0:43:33 | 0:43:37 | |
Not quite attractive enough for television. | 0:43:37 | 0:43:39 | |
We also have, what have we got? We've got 140 and 131. | 0:43:39 | 0:43:44 | |
The one that Amanda has selected to be her challenger is number 105. | 0:43:44 | 0:43:48 | |
105, raise your hand, please. | 0:43:48 | 0:43:51 | |
Make your way up to the front. | 0:43:51 | 0:43:52 | |
Now, number 105, I don't want to know your name | 0:44:00 | 0:44:04 | |
in case you think that someone backstage | 0:44:04 | 0:44:06 | |
is searching for you on Facebook. | 0:44:06 | 0:44:09 | |
-Are you a Facebook kind of guy? -No. -Didn't think so. | 0:44:09 | 0:44:12 | |
I need to check before we continue, have you and I ever met before? | 0:44:12 | 0:44:15 | |
-No. -OK. Have you ever met Amanda before? -No. -OK. | 0:44:15 | 0:44:18 | |
I also want you to check | 0:44:18 | 0:44:20 | |
-she's got no hidden earpieces feeding her information. -She hasn't. | 0:44:20 | 0:44:23 | |
Also, check there are no monitors feeding her information. | 0:44:23 | 0:44:27 | |
-No. -Happy? -Yeah. -OK. | 0:44:27 | 0:44:29 | |
Amanda, it's over to you. | 0:44:29 | 0:44:33 | |
You're going to try to tell him a four-digit number, a PIN number. | 0:44:33 | 0:44:36 | |
-Are you thinking of your PIN number? -I'm trying! | 0:44:36 | 0:44:39 | |
LAUGHTER Concentrate really, really hard | 0:44:39 | 0:44:42 | |
and I want you to put your hands out on the table | 0:44:42 | 0:44:45 | |
and I'm going to put my hands on your hands. | 0:44:45 | 0:44:48 | |
We're thinking of the first digit. | 0:44:48 | 0:44:51 | |
And I want you to start counting from zero through to nine | 0:44:51 | 0:44:55 | |
and keep going until I tell you to stop. | 0:44:55 | 0:44:58 | |
Zero, one, two, | 0:44:58 | 0:45:01 | |
-three... -A wee bit faster. -Four, five, six, seven, eight, nine. | 0:45:01 | 0:45:05 | |
He's being really, really difficult, aren't you?! Do it again, go ahead. | 0:45:05 | 0:45:10 | |
-Zero, one, two, four, five... -You're all right? That's it. | 0:45:10 | 0:45:13 | |
-..seven, eight, nine. -Hmm. | 0:45:13 | 0:45:16 | |
OK. There's nothing there, was there? You were trying really, really hard! | 0:45:16 | 0:45:23 | |
I know you were concentrating really, really hard. | 0:45:23 | 0:45:25 | |
-Is this your real PIN number? -Yes. | 0:45:25 | 0:45:29 | |
That's why you were concentrating really hard! | 0:45:29 | 0:45:31 | |
I am going to take a wee guess. | 0:45:32 | 0:45:34 | |
-Is it two? -That's right. -Is it two, the first digit is two? Amanda! | 0:45:36 | 0:45:39 | |
APPLAUSE | 0:45:39 | 0:45:42 | |
Now we need to be absolutely clear. | 0:45:43 | 0:45:47 | |
-Is there anyway Amanda could know this? -No way. | 0:45:47 | 0:45:50 | |
-Have you told anyone? -No. -This is a genuine secret? | 0:45:50 | 0:45:53 | |
-Keep going. -I'm going to get you to stand up, if that's OK. | 0:45:53 | 0:45:56 | |
Can you stand up? | 0:45:56 | 0:45:58 | |
And give me hands again and we're going to put your arms out | 0:45:58 | 0:46:01 | |
and hold onto my hands | 0:46:01 | 0:46:03 | |
and same again, zero, through to nine. Quick! | 0:46:03 | 0:46:06 | |
-Zero, one, two, three... -Go, go, go! Quick, quick! Go, go! | 0:46:06 | 0:46:10 | |
-Go, go, go, go! -Whoops! | 0:46:10 | 0:46:11 | |
LAUGHTER | 0:46:11 | 0:46:13 | |
-Keep going. -Zero, one, two, three, four, five, six, seven, eight, nine. | 0:46:13 | 0:46:18 | |
-Zero, one, two, three, four, five, six, seven... -OK. | 0:46:18 | 0:46:21 | |
I think I've got it. | 0:46:21 | 0:46:23 | |
LAUGHTER | 0:46:23 | 0:46:25 | |
-You were a little wobbly with the hand on the six. -That's correct. | 0:46:25 | 0:46:29 | |
-Really? -APPLAUSE | 0:46:29 | 0:46:31 | |
So the second digit was a six? Amanda, anyone can guess numbers, | 0:46:36 | 0:46:40 | |
but I want to make this a little bit more difficult for you. | 0:46:40 | 0:46:43 | |
-Try and do the last two together. -OK. | 0:46:43 | 0:46:46 | |
Now, you're relaxed, I'm going to take your hands again | 0:46:46 | 0:46:50 | |
and I want you to put your hands flat on my hands. | 0:46:50 | 0:46:53 | |
-So.. In your own time. -Zero, one, two, three, four, five | 0:46:53 | 0:46:57 | |
-six, seven, eight... -OK, I'm going to get you to stand up. | 0:46:57 | 0:47:00 | |
Carry on, carry on. | 0:47:00 | 0:47:02 | |
Right, we're on the last digit now. Last digit. | 0:47:02 | 0:47:05 | |
-You're thinking of the last digit. -Four, five, six... | 0:47:05 | 0:47:08 | |
You're concentrating really hard. Right, I've got it. Is it 26? | 0:47:08 | 0:47:13 | |
-26, yeah. -So hold on. -APPLAUSE | 0:47:13 | 0:47:16 | |
-So you've guessed. What was your...? -26... -Yes. -..is the last two digits. | 0:47:16 | 0:47:21 | |
Ladies and gentlemen... Sir, what is your name? | 0:47:21 | 0:47:26 | |
-Edgar. -Give Edgar a round of applause. | 0:47:26 | 0:47:29 | |
Edgar. Thank you. | 0:47:29 | 0:47:32 | |
Now, Amanda, if someone had asked you, six weeks ago, | 0:47:38 | 0:47:42 | |
if you might be able to tell someone their PIN number, | 0:47:42 | 0:47:45 | |
a total stranger, what would you have said? | 0:47:45 | 0:47:48 | |
-Never in a million years. -What does it feel like to have been able to do it? | 0:47:48 | 0:47:52 | |
-I don't believe that I've done it. -All right, OK. | 0:47:52 | 0:47:54 | |
-Pure and simple. -I assure you Edgar isn't an actor. | 0:47:54 | 0:47:57 | |
If he was, he would have been a much better performer! Let's try one more time. | 0:47:57 | 0:48:01 | |
I want you to select four or five and give one of them to me. | 0:48:01 | 0:48:06 | |
Is that two? | 0:48:08 | 0:48:09 | |
SHE MUMBLES | 0:48:09 | 0:48:11 | |
And let me see. Just one of them to me. Excellent. OK. | 0:48:11 | 0:48:15 | |
When you're ready. Take a few. Let's get a little look at those. | 0:48:15 | 0:48:18 | |
We have a few examples there. | 0:48:18 | 0:48:21 | |
Let me see. We've 170, we've got 163. 163, raise your hand. | 0:48:21 | 0:48:26 | |
163, raise your hand. No. This isn't the one that Amanda selected. | 0:48:26 | 0:48:30 | |
We've got 150 and 170. | 0:48:30 | 0:48:32 | |
The one that Amanda has selected out of them all is... | 0:48:32 | 0:48:36 | |
..number 111. 111. | 0:48:36 | 0:48:39 | |
Would 111 please raise their hand. | 0:48:39 | 0:48:41 | |
-APPLAUSE -Please make your way to the front, madam. | 0:48:41 | 0:48:45 | |
Now. | 0:48:48 | 0:48:50 | |
One of the most difficult feats in mentalism is the ability to duplicate a thought. | 0:48:50 | 0:48:54 | |
Because anyone could work out a number someone is thinking of | 0:48:54 | 0:48:57 | |
through simple lie detection. But duplicating a thought is incredibly difficult. | 0:48:57 | 0:49:01 | |
For this we're going to need some easels. | 0:49:01 | 0:49:04 | |
Now, again, I don't want to know your name. | 0:49:09 | 0:49:11 | |
-That's important. We're only going to refer to you as 111, OK? -OK. | 0:49:11 | 0:49:15 | |
In a moment, I'm going to ask both of you to stare at you easels. | 0:49:15 | 0:49:19 | |
You've got some markers. Go and stand, Amanda, in front of your easel. | 0:49:19 | 0:49:23 | |
You're going to fill the easels with a picture. Amanda is going to try | 0:49:23 | 0:49:27 | |
to duplicate your thought in real time. | 0:49:27 | 0:49:30 | |
But I want you to know she will try to put you off. | 0:49:30 | 0:49:32 | |
She'll call out random words and sayings and phrases | 0:49:32 | 0:49:35 | |
and the idea is they will try to catch you out or lead you off the beaten track. | 0:49:35 | 0:49:40 | |
-Your job is to try to stay focused and not let her influence you as you draw, OK? -Yes. | 0:49:40 | 0:49:45 | |
And we're going to have a little bit of music as we do this. Maestro. | 0:49:45 | 0:49:48 | |
BAND PLAYS | 0:49:48 | 0:49:50 | |
Now, whenever you're ready, begin drawing. | 0:49:50 | 0:49:53 | |
-Is there any way Amanda could know what you're doing? -No. -OK. | 0:49:53 | 0:49:57 | |
-And, also, I would encourage you to look around you. -Vegetables? | 0:49:57 | 0:50:01 | |
Any vegetables going on there, is there? | 0:50:01 | 0:50:03 | |
-No? -No. -No, no vegetables. | 0:50:03 | 0:50:05 | |
-I was thinking sweetcorn. No? -No. | 0:50:05 | 0:50:08 | |
-You didn't have sweetcorn today or anything, no? -No. | 0:50:08 | 0:50:13 | |
Erm... Cement mixer? | 0:50:14 | 0:50:17 | |
-No. -No? You weren't thinking of a house, no? -No. -OK folks, time is up. | 0:50:17 | 0:50:23 | |
Markers down, markers down. Now, 111, if you could come round here. | 0:50:23 | 0:50:27 | |
Hold your drawing facing the front. | 0:50:27 | 0:50:30 | |
If you could just very simply describe. What have you drawn there? | 0:50:30 | 0:50:34 | |
-It's a scarf. Supposed to be. -It's supposed to be a scarf. OK. | 0:50:34 | 0:50:37 | |
-It could be a ring road, who knows! -Anything. | 0:50:37 | 0:50:39 | |
-Are you sure it's not a road, David? -Sorry? -Is she sure it's not a road? | 0:50:39 | 0:50:44 | |
-Are you sure it's not a road? -No. -All right. | 0:50:44 | 0:50:46 | |
-Were you thinking of road? -No. | 0:50:46 | 0:50:49 | |
Why not? LAUGHTER | 0:50:49 | 0:50:52 | |
When you woke up this morning, you didn't know you would be doing something like this? | 0:50:52 | 0:50:56 | |
-No, definitely not. -A crazy random thought? -Yes. -OK. | 0:50:56 | 0:51:00 | |
Amanda, how well did you do? Don't show anybody just yet. Hold it up against your chest. | 0:51:02 | 0:51:06 | |
Hold it up against yourself and walk out here for me, | 0:51:06 | 0:51:10 | |
just making sure you don't fall off. | 0:51:10 | 0:51:12 | |
Do you want to do the honours? | 0:51:12 | 0:51:15 | |
-I was... I changed my mind, I thought of a scarf. -Let's see. Look! | 0:51:15 | 0:51:19 | |
Oh, ladies and gentlemen, let's hear it for Amanda. Oh my gosh. | 0:51:19 | 0:51:25 | |
Now, everyone will think that this is some sort of a set-up. | 0:51:25 | 0:51:29 | |
But have you been randomly selected? You've made a random picture | 0:51:29 | 0:51:32 | |
and there's no way anyone could have known? | 0:51:32 | 0:51:34 | |
-No-one could have known, no. -And what is your name? | 0:51:34 | 0:51:37 | |
-Debbie. -Let's hear it for Debbie. Thank you so much, Debbie. | 0:51:37 | 0:51:40 | |
APPLAUSE | 0:51:40 | 0:51:42 | |
Excellent. | 0:51:42 | 0:51:43 | |
Well, all I can say is that was absolutely incredible. | 0:51:50 | 0:51:55 | |
Amanda, you have done the two most difficult things in mentalism. | 0:51:55 | 0:52:02 | |
-Do you think all your training has paid off? -It has! I got it right. -You did an amazing job. | 0:52:02 | 0:52:06 | |
But I don't want to forget the other seven gift candidates. | 0:52:06 | 0:52:10 | |
Let's hear it for them. Let's hear it for the other seven. | 0:52:10 | 0:52:13 | |
Amanda, just pop over here. | 0:52:13 | 0:52:15 | |
The fact is, this journey would not have been possible | 0:52:15 | 0:52:18 | |
without all seven of you and I hope that you've had an interesting time. | 0:52:18 | 0:52:23 | |
We wouldn't have done it without you. | 0:52:23 | 0:52:25 | |
But the fact is, I don't want you to leave empty-handed. | 0:52:25 | 0:52:28 | |
When I think of Christmas, and this is all about Christmas, I always think of those presents | 0:52:28 | 0:52:32 | |
that, as a youngster, I always wanted but I didn't get. | 0:52:32 | 0:52:37 | |
Thank you, Mum. The red BMX! | 0:52:37 | 0:52:39 | |
All of those memories seem to build up in our minds. | 0:52:39 | 0:52:42 | |
So, if you don't mind, I'm going to ask you to think of a present | 0:52:42 | 0:52:46 | |
that you would have loved to have received as a child, but didn't get. | 0:52:46 | 0:52:49 | |
Take a couple of seconds to think about that. | 0:52:49 | 0:52:51 | |
I've never asked you this before so you're coming up with this on the spot. | 0:52:51 | 0:52:55 | |
If you don't mind, I will start with Naomi. | 0:52:55 | 0:52:58 | |
-If you could have any present, what would you love to have? -Ballet shoes. -Ballet shoes? OK. | 0:52:58 | 0:53:04 | |
All right. Jennifer? | 0:53:04 | 0:53:06 | |
Thomas the Tank Engine. | 0:53:06 | 0:53:07 | |
Thomas the Tank Engine. OK, that tells me a lot about you! | 0:53:07 | 0:53:10 | |
-Martin. -I'm not sure I should say this, but Gummiberry juice. | 0:53:10 | 0:53:15 | |
-Gummiberry juice! -LAUGHTER | 0:53:15 | 0:53:18 | |
Martin, you're right, you shouldn't have said that. | 0:53:18 | 0:53:21 | |
-Ciaran, your dream gift as a child, what is it? -A robot that would make orange juice. | 0:53:21 | 0:53:25 | |
A robot that would make you orange juice. | 0:53:25 | 0:53:28 | |
Ciaran, I've seen a whole new side to you. | 0:53:28 | 0:53:30 | |
-OK. Lorna, what would you have? -A doll. | 0:53:30 | 0:53:33 | |
Nathan, do you want the same doll?! | 0:53:33 | 0:53:35 | |
No. | 0:53:35 | 0:53:38 | |
-Um, I always wanted a bow and arrow, or something like that. -A bow and arrow. OK. | 0:53:38 | 0:53:42 | |
We'll get to that in a moment. Sean, you can have anything in the world. | 0:53:42 | 0:53:46 | |
It was a Meccano set that would build itself. | 0:53:46 | 0:53:50 | |
-A Meccano set that would build itself. -Yep. | 0:53:50 | 0:53:52 | |
Yes, it's important to aim high, Sean! That's the main thing. | 0:53:52 | 0:53:56 | |
Every single one of these gifts that you wanted tells me something hugely important about you. | 0:53:56 | 0:54:00 | |
And I want you all to leave here with something of a gift, this evening. | 0:54:00 | 0:54:05 | |
You've all got a present you've selected randomly. | 0:54:05 | 0:54:09 | |
Could we have the box down, please? | 0:54:09 | 0:54:11 | |
MAGICAL CHIMES SOUND EFFECT | 0:54:11 | 0:54:13 | |
Now... | 0:54:13 | 0:54:15 | |
Amanda, it's been yours and only your responsibility to make sure this hasn't been tampered with. | 0:54:15 | 0:54:21 | |
-You're happy you protected this? -Yes. -You're the only one who's got the keys? | 0:54:21 | 0:54:25 | |
No-one was able to break into your house and damage it at any point. | 0:54:25 | 0:54:29 | |
-Amanda, do have the keys? -I do. -OK. Give them to me, please. -Excuse me. | 0:54:29 | 0:54:34 | |
Oh, jeepers. | 0:54:34 | 0:54:36 | |
LAUGHTER | 0:54:36 | 0:54:39 | |
-That is hugely excruciating. Can I turn around now? -Yes, it's all over. | 0:54:40 | 0:54:45 | |
-HE LAUGHS -Ah, they're warm, bless! | 0:54:45 | 0:54:48 | |
So are you happy that you made sure no-one could have tampered with this? | 0:54:48 | 0:54:53 | |
-Nobody could have got anywhere near them. -Great. Let's just see. | 0:54:53 | 0:54:57 | |
Let's get this open. | 0:54:57 | 0:54:59 | |
And now I want to you to take that lock. | 0:54:59 | 0:55:02 | |
If you put that down on the end of the stage for me. | 0:55:02 | 0:55:05 | |
In here, we've got, Amanda, your prophecy. | 0:55:05 | 0:55:09 | |
Now, I want to make absolutely sure everyone knows | 0:55:09 | 0:55:12 | |
that no funny business is going to happen with this. | 0:55:12 | 0:55:15 | |
So, why don't we have all the guests down? | 0:55:15 | 0:55:17 | |
Bring your presents and stand where you like, welcome them all back for me, please. | 0:55:17 | 0:55:22 | |
APPLAUSE | 0:55:22 | 0:55:25 | |
You're all very welcome. This is Amanda's prophecy. | 0:55:31 | 0:55:34 | |
Your job is to be the eyes and ears to make sure | 0:55:34 | 0:55:37 | |
no switches or no funny business happen. | 0:55:37 | 0:55:40 | |
This is six millimetres thick, security plastic. | 0:55:40 | 0:55:43 | |
So be very careful not to cut your hands as I tip this out. | 0:55:43 | 0:55:45 | |
Folks, make sure this doesn't get switched or tampered with. | 0:55:45 | 0:55:49 | |
Amanda, let's see how close you got. | 0:55:49 | 0:55:52 | |
-This is your signature, you signed that? -It is indeed, yes. | 0:55:52 | 0:55:56 | |
-Happy with that, it's been in your possession? -100% mine. | 0:55:56 | 0:55:59 | |
OK, let's open this up and see just how well we did. | 0:55:59 | 0:56:05 | |
Sean, your job is going to be to read this out, please, | 0:56:05 | 0:56:08 | |
just to see how close we got. | 0:56:08 | 0:56:10 | |
My name is Amanda Stewart and my thoughts are... | 0:56:10 | 0:56:15 | |
Ballet shoes. | 0:56:15 | 0:56:17 | |
Train. | 0:56:17 | 0:56:19 | |
Gummi bear juice. | 0:56:19 | 0:56:20 | |
Robot. Doll. | 0:56:20 | 0:56:22 | |
Bow and arrow. | 0:56:22 | 0:56:24 | |
-Meccano, is that Meccano? -It looks like Meccano, yes. | 0:56:24 | 0:56:27 | |
Ladies and gentlemen, let's hear it for Amanda! | 0:56:27 | 0:56:30 | |
APPLAUSE | 0:56:30 | 0:56:31 | |
Incredible! Amanda, you did it. | 0:56:31 | 0:56:38 | |
You made a prophecy, a prediction that you didn't know you were making | 0:56:38 | 0:56:44 | |
about events that hadn't happened yet. | 0:56:44 | 0:56:47 | |
LAUGHTER | 0:56:47 | 0:56:49 | |
Amanda, it's such an amazing job, well done. | 0:56:49 | 0:56:52 | |
APPLAUSE | 0:56:52 | 0:56:54 | |
This has been undoubtedly the most difficult thing I've ever attempted. | 0:56:57 | 0:57:02 | |
And I've got to thank... I've just realised you don't have a present. | 0:57:02 | 0:57:06 | |
Get out of the way. There is one for you. | 0:57:06 | 0:57:10 | |
Folks, you've all got a present, you could have picked any present. | 0:57:10 | 0:57:13 | |
And you could have stood in any order as well, | 0:57:13 | 0:57:16 | |
would you please go ahead and open that box. | 0:57:16 | 0:57:18 | |
Truthfully, Ciaran, did you expect an orange juice making robot in that box? | 0:57:25 | 0:57:28 | |
LAUGHTER | 0:57:28 | 0:57:30 | |
Really, Ciaran? But folks, I've got a memory of what I think will be a special night. | 0:57:30 | 0:57:35 | |
If not only for me and Amanda, but for all of you as well | 0:57:35 | 0:57:38 | |
because these are the things we cherish at Christmas. | 0:57:38 | 0:57:40 | |
It is a bell and I'd like you to all hold it in the flat of your hand at about tummy height. | 0:57:40 | 0:57:46 | |
When I point at you, I want you to give it one single ding, | 0:57:46 | 0:57:48 | |
but only when I point at you, please, OK? | 0:57:48 | 0:57:50 | |
BELLS RING "DECK THE HALLS" | 0:57:50 | 0:57:57 | |
One more time. | 0:57:57 | 0:57:58 | |
BELLS RING "DECK THE HALLS" | 0:57:58 | 0:58:03 | |
# Fa-la-la-la-la, la-la-la-la. # | 0:58:03 | 0:58:06 | |
CHEERING AND APPLAUSE | 0:58:09 | 0:58:12 | |
You all could have chosen any box and could have stood in any order. | 0:58:12 | 0:58:16 | |
Ladies and gentlemen, I want to thank everyone who's made this possible. | 0:58:16 | 0:58:21 | |
I'd like to thank the band. | 0:58:21 | 0:58:22 | |
I'd like to thank our seven participants. | 0:58:22 | 0:58:27 | |
I'd like to thank Amanda more than anyone, but I'd like to thank | 0:58:27 | 0:58:33 | |
all of you as well, the live studio audience and you at home. | 0:58:33 | 0:58:37 | |
And from everyone here, from me, | 0:58:37 | 0:58:39 | |
from Amanda, we'd like to wish you a very merry Christmas. | 0:58:39 | 0:58:43 | |
CHEERING AND APPLAUSE | 0:58:43 | 0:58:47 | |
Subtitles by Red Bee Media Ltd | 0:58:52 | 0:58:54 | |
E-mail [email protected] | 0:58:54 | 0:58:55 |