07x10 - Deep Fake Penn

[bunniefuu]

From the Penn & Teller Theater

at the Rio Hotel in Las Vegas,

here's our host, Alyson Hannigan!

Welcome to "Fool Us."

Lots of people come to Las Vegas

in the hopes of winning a big pile of money,

but every magician here tonight has their eyes

on winning something bigger-- the "Fool Us" trophy.

That's because it's a fancy work of art

with two big capital letters on it,

but P and T don't give that big F and big U away

to just anyone.

Our magicians need to completely KO

the CEOs of our show-- Penn and Teller!

If Penn and Teller can't decipher a deception,

they give up a slot in their world-famous magic show,

and this whole place goes wild.

Let's launch this fabulous fooling festival

with our first magician.

With two randomly selected world-famous magicians,

please welcome Boris Wild.

Thank you.

Thank you.

Bonjour, Penn. Bonjour, Teller.

It's a great honor

to be here with you today, but I must say,

it was a big challenge to come up

with something special for your show

because, of course, I want to fool you,

but for that, we have to be very, very good.

So, with this routine, I tried to imagine

what you would say and how you would talk

in your tricky, little codes,

and I spent so much time doing this

that I actually began hearing

your voices in my head while I perform.

What a bunch of nonsense.

If this guy created a way to hear my thoughts

in my voice, that would be real magic.

See? Did you hear that?

- I did.
- I told you.

Yeah, that's crazy, right?

Sound a lot like me.

But now for the trick.

The Frenchie is not using a fresh deck,

which means he's got the cards set the way he wants them.

Well, yes, so it's probably better

if we use a brand-new deck of cards

that comes straight from the factory.

Yep, and yep.

Penn, would you please choose any deck you want?

Any one you want. This one here, all right.

We don't need those.

And let me open the seal,

and, obviously, the cards are in brand-new-deck order.

Yes, so I'm going to shuffle them.

Yes, and, Teller...

It's funny, because when I do this shuffle here...

it's like I can hear you thinking

and Penn doing the talking for you.

Teller says watching you do that shuffle makes him

think you know a lot about the ancient Egyptian pharaohs.

Yeah, the Egyptian pharaohs, yes.

So that's why it's better, I think--

could you please shuffle the cards yourself

so that we know that everything

is absolutely fair from the beginning?

Yes, nice, very good.

Thank you.

Good. Well, but even though you may think--

He probably peeked at the bottom card

to make it the key of the trick.

Well, yes, I could have.

So could you please cut and complete?

So now I know absolutely nothing about this deck.

Right, thank you, great.

Teller, in one moment, I will ask you to pick a card

in that deck here, but I don't want, you know,

to open the spread a little wider somewhere,

or you may think--

Teller thinks you're trying to make him

pick a particular card.

So, no, make sure-- No, no, no.

Make sure you really, really take any card, yes?

And also, I will look away, you know?

'Cause you probably think--

He's gonna look at the cards.

But, no, I swear, I promise. I'm not looking.

Please take any card you like, any one you like.

Yeah, I'm not looking.

Yeah, you got one? Remember it.

Show it to everyone in the audience at home.

To Penn, too, please.

And, Penn, in case you're thinking--

Now he's gonna control the card.

Nope, I will not control it.

So could you please put it back here, yeah?

So now it's lost in the deck,

and, also, I will perfectly square the cards

so there is nothing to see, or you may think--

He's doing something sneaky to help him find the card.

Nope, and I leave the cards on the table.

So, guys, is it possible for me to know anything

about Teller's card right now?

Most people would say no, but these two are thinking--

Yes.

And they're right, and that's why I want you

to shuffle the cards again.

So now you think--

Damn, he can't know the card

or its position in the deck now.

Yes, yep, thank you.

But I promised to find it, so I will do it

with a free choice from you Penn.

Could you please name any number

- between one and 52, please?
- Three.

Three. Oh, wow, okay.

That's a small number, but, yes, three.

Okay, I mean, it's funny because I can hear--

That [bleep] French guy did not use

a [bleep] magician's choice on my [bleep] number.

It's really any number.

Yes.

But, I mean, yes, it's true, but you said three.

- I did.
- All right.

So let's have a look at the third card

in the deck.

One, two, three.

Is it just me, or do you hear them thinking--

Let's watch closely to see if he does any funny moves,

but if the card is somehow in that position, wow.

For the very first time, Penn, please can you tell us

the card that Teller chose earlier?

Two of spades.

- That right, two of spades?
- Yes.

Could you please take the cards

and show to the audience the third card in the deck?

Please, show to everyone the card.

What is it? Is that it?

Is that the two of spades? Yes?

Oh, my God, a miracle! We made it!

Oh, wow, yes!

Wait, wait, wait, wait, wait.

'Cause I see their faces. Maybe one final thought?

I think he fooled us.

Boris Wild!

Thank you so very much. Thanks for helping.

- Ah, hello.
- Hello, bonjour.

Bonjour.

That was very impressive.

I don't know if I've ever seen Penn make my expression.

Thank you.

- Are you happy?
- Oh, yes, yes.

It's a pleasure to be here.

I mean, you know, It's Vegas, Penn and Teller,

the best magicians in the world here,

this show-- I mean, come on.

Was it your intention to leave both of them speechless?

My idea was just to, you know, come here

and just perform something for them

- that they would enjoy and--
- Wow.

And did you come up with this trick

just for them?

Yeah, I created this trick first,

and it's true--what I said at the beginning is very true.

I, for each routine, I was like,

"Okay, what would they think? They would think this.

They would think that. Okay, well..."

And I started to hear them.

I'm like, "When they talk now,

nobody knows what they're saying, but"...

- Yeah.
- "What if we could hear them?

"But not after-- during the performance."

They're like, "Mm, hmm, hmm, hmm, hmm, hmm."

Uh-huh.

You know, and I put all that together,

- and that was it.
- It's brilliant.

All right, what do you think, Boris?

Should we find out if you fooled them?

Well, I would love to hear them, of course.

All right.

Boris, Boris, will you allow me to actually speak

for myself now?

Can I speak? Good, good, good.

The idea of doing our thoughts and how we speak in code

and the way we think was just brilliant and original

and beautiful and frighteningly close

to what we really were thinking at those times.

You could almost pass it off as a mind-reading act.

Those are not just clipped things that I said before.

Some of those things, I'm fairly certain,

I never said.

That is actually cloning my voice.

Now, we caught you on a few things

we kind of, sort of think,

but neither Teller nor I could remember,

and I'm gonna trust you.

I want an honest answer.

Did you square up the deck

before I said the number three,

or did I say the number three

and then you squared up the deck?

No, it was squared before you said the number three

It was fully squared when I said the number three?

It was.

In that case, would you use my clone voice

to say what you want it to say?

I think he fooled us.

We have a fooler!

Oh, my God!

Thank you so much.

Thank you.

Amazing!

- Congratulations.
- Thank you.

Boris Wild!

We have one fooler among us. Will there be more?

Come back and find out when "Fool Us" returns.

Welcome back to Chez "Fool Us."

Allow me to serve up our next act.

We are escape artists, Ramó and Alegria.

Alegria and Ramó.

To fool Penn and Teller, I have trained Alegria

for many months, and now she is almost perfect.

Doing escapes is our life.

It takes great concentration to do what we do.

I have taught Alegria everything she knows.

Penn, Teller, you will not soon forget

Ramó and Alegria.

I think doing the magic will be the easy part.

Please welcome Spanish magic duo Ramó and Alegria.

Key?

- Key.
- What?

The key.

Ah.

Here, take. Ay.

Okay, now you.

- Me?
- You.

Oh, no, no, no, no, no, no, no, no, no.

Oh! Ay, ay, ay, ay!

No, no, no, no, no, no, no.

Yeah!

Ramó and Alegria!

That was incredible.

- Thank you.
- Man.

And is this the only trick like this in the world?

- I hope.
- You hope so.

I hope--I don't know nothing similar

- that it works like this, yeah.
- Yeah, that's very impressive.

Thank you.

I build it by myself, and it's broken.

Well, it looks like you're gonna have to build it again.

- Yeah.
- Yeah.

- Yeah.
- I think.

Alegria, he's kind of a clown, right?

- Yeah.
- Is it hard to work with?

- No.
- Aww.

'Cause you're in control. Yeah.

- I like the empowerment message.
- Yeah.

Yeah.

So, if you guys disagree on a trick, who wins?

- Yeah.
- Of course.

- Oh.
- Yeah.

Or do you even bother disagreeing?

- No, no, no.
- Just whatever you want.

Yeah--oh, okay, okay.

All right, well, let's see if your trick

- fooled Penn and Teller.
- Let's see.

Boys.

Oh, my goodness, that's a great routine.

I thought while we were talking that I heard you say to Alyson

that that's your creation-- the whole thing?

- Yes.
- It's such a good idea.

Teller and I were discussing this,

but we think that even for the public,

a sub trunk is a warhorse.

It's just an old thing that everybody's seen 100 times.

And then you end up doing an entirely different trick

than the plot of the trick, which is what I love.

This trick is not a substitution trunk.

This trick is a levitation,

and it's the levitation

that's so brilliant about that.

And, of course, your comedy

and the plot between the two of you--

it's just really fun and really terrific.

And then having said all of that,

I know that there's a little bit

of a language barrier,

so I'll say this as clearly as possible.

We loved it, loved it, loved it.

I will also say...

And I don't know if I'll be clear enough on this.

What you have is essentially what looks like

an impromptu super X made of rubble,

which is the genius behind this.

We loved it more than anything,

but we do not think you fooled us.

- Of course not.
- But we loved it.

Of course not.

So they know how you did the trick?

- Yes, of course, of course.
- Ah, well, thank you so much.

Ramó and Alegria!

Up next, Penn and Teller take on more magic tricks.

And later, Penn and Teller perform one of their very own.

Stick around.

Welcome back.

One performer has already won a slot

in Penn and Teller's show.

Will this next magician be joining them?

All the way from Japan, give it up for Jonio!

Thank you.

Tonight I'm going to show you something

I guarantee you've never seen on "Fool Us."

I have very special part of my body...

- My beard.
- Right.

My beard is weird.

Thank you, but my beard is more

than just a change machine.

Alyson, would you, like, please come here?

Sure.

And please check out my moneymaker.

Okay, Alyson.

I have...

Ooh, for you.

Okay.

- Please check out my--
- Oh, with the comb.

- Yes.
- Okay.

- Please take a seat.
- See this--okay.

Wow.

Never really combed somebody else's beard.

Okay.

- Is there anything...
- It's very nice.

Hidden or stuck on my beard?

- No, it's very well-groomed.
- No?

- It's lovely.
- No.

- No.
- Alyson.

- Yeah.
- How is my beard?

- It's beautiful.
- No.

- It's clean.
- My beard is weird.

Oops, sorry. Cheers, guys.

Ugh.

But...

watch.

- It's weird.
- That's weird.

- That's totally weird.
- Thank you.

I don't even know what's going to come out of here.

- Okay.
- Yeah?

Oh.

- It's yours?
- No, I did not--

No?

Oh.

Alyson, it's for you.

- Oh, thank you.
- Oh, wait.

You may want this, too.

- Oh.
- Oh, wait, wait, wait.

It's not good without this.

Oh.

- See?
- Thank you.

- For you.
- All right, fabulous.

Thank you, thank you.

My beard may be weird, but the question is,

can my beard fool Penn and Teller?

- I think...
- I'll take that one.

It's a coin toss. Thank you.

That's amazing.

Jonio! That's so cool.

Thank you.

So when did you discover your beard was weird?

So what came first for you-- the beard or magic?

Ah, that's very, very clever.

Have you always used comedy in your magic?

Shall we find out if your beard

- fooled Penn and Teller?
- Yep.

All right. Boys.

Jonio, your beard is weird.

- Thank you.
- It is a weird beard.

Weird beard.

We're not scared. It's just a beard.

Just beard.

You know, Teller was saying

that although this isn't a fairy tale,

it almost should be some sort

of Nordic Viking fairy tale

about the man who could pull anything

out of his beard and brought treats

for the children from his beard.

It seems like so much better than Rumpelstiltskin.

I think-- Yeah, translate that.

That's a challenge.

Usually when people are doing production acts,

there's no rhyme or reason to it.

It's just pulling stuff out of the air

or out of a handkerchief.

This one just charming, delightful idea

that people liked all the way through

and also just weird enough

to make Alyson uncomfortable,

which our people watching just love.

If you can get Alyson just a little bit geeked out

we all enjoy that very much.

And I will also say--

and I will say this as a compliment

and also to maybe explain how we think you did it--

that we know

really perfect sleight of hand when we see it,

and we did see it, and it's a wonderful routine, Jonio.

So, Jonio, do you think they figured it out?

- Yeah, yes.
- Oh.

- Thank you so much.
- Thank you, thank you so much.

- Thank you, thank you.
- Jonio!

Thank you!

Still in the market for more magic?

Good, we've got more in store right after this.

* If you want another fooler, clap your hands *

Ah, here's one now.

I'm Ricardo Rosenkranz, and I'm a physician magician.

I'm a neonatologist.

I take care of premature babies.

People often ask me whether I perform magic

in the clinical setting for patients,

but premature babies--

they're not a great audience.

Medicine has a lot of parallels to magic.

I think of it as a performance art.

A good doctor is trying to do the same things

that a good magician is trying to do--

connect with an audience member

and give them a moment that they need.

I believe we can become better doctors

by studying master performers.

Magic is a wonderful metaphor for health and healing.

Taking something broken and putting it together,

making it whole, that's what doctors do.

Ladies and gentlemen, there's a doctor in the house,

and he's Ricardo Rosenkranz!

As a magician who also practices medicine,

I've always been drawn to the illusions

that knock at the door separating life and death,

and no illusion knocks louder at death's door

than the b*llet catch.



and very few, only the best like Penn and Teller,

have truly succeeded with it,

but as much as I wanted to perform it,

I have a wife and three kids and a great life.

Could I really put myself in danger?

The solution-- have someone else do it.

Alyson...

join me.

I don't think so.

- Yes.
- Hi.

Do you want me to pick somebody for you?

No, no, no, and don't worry.

We're not gonna sh**t you-- not intentionally.

You'll be safe as long as you stand right in that spot.

It's the zone of safety.

- Oh, can I go there?
- Please join me--yes.

Ooh, thank you. Whew.

You see, Alyson, I figured it out.

The best way to do the b*llet catch

without k*lling anyone is to perform it with someone

who's already dead.

Ladies and gentlemen, meet Balsamo.

Oh.

Hello.

Balsamo is a former patient of mine.

Oh.

I'm such a great doctor that I keep in touch

with my patients after they're dead.

Ah, okay.

But, Alyson, I know from your experience in "Buffy"

that you can handle weapons and the undead.

Yeah.

Oh, sorry, the living impaired.

- He prefers that term.
- Yes, okay.

For our b*llet catch,

we prefer a 19th-century percussion p*stol.

It's old and weird, yet classy, like Balsamo.

Mm.

Alyson, please meet Melanie.

She has several rounds of ammunition...

Oh, wow.

And a couple of colored felt-tip markers.

Okay.

Pick a b*llet. Pick a marker.

Put your initials on the b*llet.

Make it yours. Make it unique.

Okay, I'm gonna pick purple.

Ladies and gentlemen, in a moment,

Balsamo and I are gonna ask for your silence and cooperation

as we try to complete this complicated feat.

Okay, well, it's very--

- All done?
- Yes.

So, Alyson, literally,

there's a b*llet with your name on it.

Oh, I just put a letter.

Let's load the b*llet in the g*n.

- Me?
- Yes.

- Me? Okay.
- Yeah.

I'll take the b*llet right there.

Your signed b*llet... -

In the g*n.

The weapon is loaded.

It's time to go back to the zone of safety.

Oh, thank goodness. Okay, good. Phew.

And, Balsamo, why don't you show her

that your mouth is empty?

Say, "Ah."

Sorry, bad doctor joke.

And, ladies and gentlemen, a pane of glass--

it'll be in the trajectory of the b*llet

for the skeptics in the room.

And, Balsamo, tonight would you like

to perform the b*llet catch with a blindfold?

Yes, of course, a blindfold.

That way he can hear the b*llet when it's coming towards him.

Alyson, examine the blindfold. All good?

- Real blindfold?
- It's clear.

- Excellent.
- I love that I'm checking.

Ladies and gentlemen, the time is upon us.

May we have a drumroll?

I don't feel like this is safe.

Ooh, Alyson, you're now in the zone of danger.

- I don't want to be here.
- Get out.

Thank you, yeah.

Get out of the zone of danger.

Yeah, definitely, okay, bye.

- Yeah.
- Ladies and gentlemen...

the weapon is armed.

Three, two, one...

fire.

Are you alive-- I mean unharmed?

And he's got a b*llet in his mouth.

Oh, right, safety.

No, it's not the safety zone anymore.

Balsamo, let Alyson inspect the b*llet.

And, Alyson, is that indeed your signed b*llet?

- Yes. Wait--
- Yes, it is.

Ladies and gentlemen, I think Balsamo k*lled it tonight.

Dr. Ricardo Rosenkranz!

Thank you.

And I get to interview both of you.

Absolutely.

Are you really a former patient?

Yes.

So which one of you is the brains of the operation?

- Well, you know...
- You.

- He's a headcase.
- Aha.

And I like that, much like Penn and Teller,

- only one of you speaks.
- Exactly.

How do you balance your medical life

with your magic life?

You know, it's really funny,

because most medicine happens during the day,

and most magic happens during the night.

Ah.

So, when magicians are sleeping, I'm doctoring,

and when doctors are sleeping, I'm magician-ing.

So when do you sleep?

Um, a couple hours here and there?

Oh, all right, Doctor and Balsamo,

let's see if you fooled Penn and Teller.

Guys?

Doctor, Doctor, Mr. MD.

Nice trick, very nice trick. Looked really good.

You know, the b*llet catch,

as you mentioned during your intro,

is very close to our heart, so to speak.

We've done this in this very theater.

We've done our version, the double-b*llet catch

a couple thousand times, I think,

and very happy to not have raised

the 12 people who have died to 14.

And now I have the overwhelming urge

to talk about baseball,

'cause, you know, I've been told,

when the bases are loaded in an exciting game of baseball

that no one is going to steal.

Why would you steal with the bases loaded?

And yet, stealing and bases loaded going on

in this trick to make it happen.

We first thought, "Well, that blindfold,

that looks awfully fishy."

You know, an assistant with a blindfold,

we're gonna watch her like a hawk,

but that blindfold-- clean as driven snow

if snow were black and made of cloth.

Just beautiful there,

but we do not think you fooled us.

And, Doctor, you're the expert. What do you think?

What's your prognosis?

My prognosis depends on Balsamo.

- He's the one that performed it.
- Okay.

So you want to tell me what you think?

Balsamo says you're dead on.

Okay.

- Thank you so much.
- Thank you, thank you.

Well, Doctor, you didn't fool them,

but you sure entertained us.

Thank you so much.

- Dr. Ricardo Rosenkranz!
- Thank you.

It's just us now.

Don't go anywhere.

In fact, freeze,

because up next, you'll see a trick by Penn and Teller.

This next performance has been a classic

of Penn and Teller's amazing Las Vegas show

for years,

but it's being shown to you here on TV

for the very first time.

Ladies and gentlemen, Penn and Teller!

Occasionally we have a night off.

I go to an old-fashioned rock-and-roll show.

And for years now, all these shows

have big screens all over the stage,

and then it once happened that we see

some sort of big close-up.

And after a while, I realize

I'm not watching a live show.

I'm watching TV in a big room full of strangers.

I just don't have the willpower, you know?

When there's a big TV image onstage,

I can't watch the little, live image.

And it's really hard to have that willpower

to watch a live image when there's a big TV screen

for the people that are here live.

Now, sometimes we have a close-up magician.

You've got to watch the screen.

Magician will bring someone from the audience,

throw a couple card tricks at 'em,

and you see big close-ups of the magician's hands,

but the person running the camera

is always a member of the magician's crew.

So I'm gonna do some close-up right now,

but I want the person watching the close-up

to also run the camera,

so that's the point of view you see there.

So I need someone from the audience

who has some experience running video,

which nowadays is, of course, everybody,

but someone that shoots maybe a lot of video

of their children or shoots weddings.

It's hard to see.

How about--there's a guy with a hat.

Yeah, how do you know video, in the hat there?

- Yeah, I know video.
- Okay, fine, yep, yep, yep.

Now, when you're watching this, you can watch the screens,

but you can also watch live how I control

that frame of reference or at least try to.

Thanks so much for walking all the way up here.

Now, what is your name, our newest friend?

- Kevin.
- Kevin.

Have yourself a sit-down right there

in that seat there, Kevin.

Now, Kevin, alls you got to do is just watch the magic, okay?

But watch it through the camera,

move the camera around, follow it.

That's all you got to do is be watching the magic, okay?

So, if you want to see something closer,

you zoom in.

Want to see something further back, you zoom back.

And you move it to follow that, okay?

They're all gonna be watching

from inside your head, okay, Kevin?

Let me just get you the camera here, Kevin,

and you are going to be the cameraperson

for this trick.

Now, I want to get you to not touch any of the buttons.

Put your fingers--your hands on the safety thing.

Okay.

Fingers will be right over the zoom,

and don't touch those other buttons.

Don't use the monitor.

Look right through the eyepiece that you see right there.

And then get a sense of how to run it,

how to do the zoom.

That's the zoom in, you'll need--okay.

I don't--that's-- Oh, thank you.

Okay, maybe you don't need that much zoom right now.

Maybe you want that later. Yeah, just do a regular shot.

And then when you're watching this,

you can sh**t whatever you want, Kevin, okay?

You just move the camera around wherever you want,

and we'll hope that occasionally

you want to look over this way, okay, Kevin?

- Okay, okay.
- Yeah.

I want you to get the lay of the land

here a little bit, Kevin-- watching the tablecloth here.

It is a green, felt tablecloth

reminiscent of the old gaming tables--

in this case symbolic of a pasture for our cow.

Okay.

You have a rather pastoral scene back here.

We have rolling hills. We have apple trees.

We have a barn, and since you're kind of our Zapruder,

we have a grassy knoll, we have the barn depository building,

and we have Lee Heifer Oswald right there.

And, hey, Kevin, hay, hay.

That's hay, Kevin, hay, hay, hay.

Now, Kevin, we're gonna be using this cow.

I'll be doing sleight of hand with this.

I want you to make sure that it doesn't collapse,

doesn't fold up.

I want you to handle that cow yourself.

Make sure that's real. Is that real there, Kevin?

It's not a real cow.

No.

It's not a real cow, but I want you--

Still, we're gonna be working with this.

I don't want you to miss anything.

So come in close so you don't miss anything, Kevin,

'cause when that thing vanishes,

I want it to really mean something to you.

I didn't just drop it, Kevin. It's not gravity.

It's sleight of hand.

Help us see there, Kevin, up the sleeve there...

- Yes.
- Sleeve there.

Hands are empty. We got mad cow.

We got "Cow-Cow Boogie." We got cow tipping.

Look at that, Kevin, she fell right over.

Now, Kevin, you know a lot about the size of cow,

but look at that Kevin.

Oh, no, oh, no, my head's getting enormous.

Oh, no, Kevin, oh, no, oh, no, fits in my nose.

Look at that, Kevin.

It looks like a spot, but it's snot.

You know, Kevin, I want to talk about cloning.

You know, cloning could be used a lot in the cattle industry

for a cow that's a really good producer

Use asexual reproduction, make an exact copy of that cow.

Identical twin, born different time.

Now you got two cows here, Kevin.

See, they're really resistant to disease.

Make yourself another one just like that, Kevin.

Now they're identical triplets.

Do it over and over again

till you have dozens, hundreds, thousands.

Every cow is identical to every other cow in the herd.

Got to make 'em all identical sisters,

but this cow's not only cloned but also gene spliced

and gene spliced with a great and powerful American eagle.

These are-- that cow can fly.

Oh, man. How embarrassing, Kevin.

I've been caught with a cow on a stick.

While you were thinking

about the cow on the stick, Kevin,

I accomplished a bigger trick right down here.

- Oh, they're gone.
- I vanished the entire herd.

The entire herd is vanished, Kevin.

Anything else change there, Kevin?

- Anything else change?
- No.

Of course not, Kevin, nothing else changed.

You know, Kevin, you're coveting

- my cow on a stick, aren't you.
- No.

You want to handle her, don't you?

Make her fly. Make her fly.

Okay.

Make her fly herself over the audience.

I wouldn't have gone udders up,

but that's a good choice there.

Udders up, Whoosh, whoosh, whoosh.

You know, Kevin, I want you to be very, very observant.

You're gonna be so observant, Kevin.

Even that cow is walking on the "moo-n."

Watch every little detail.

Watch the hooves, the calves, the leg muscles,

little wrinkles under her neck, little smile on her face,

little pompadour job there.

Yee-haw!

I'm a rodeo clown, Kevin. I'm a rodeo clown.

He's a rodeo clown, one of the best.

You know, Kevin, I want to fess up a little bit.

- Yeah.
- The trick we're doing...

not the trick we pretend to be doing, Kevin.

Oh, okay.

Teller and I have been ganging up on you a little bit.

Okay.

There's a few tricks I don't think

- you've even noticed, Kevin.
- Like what?

- Tablecloth.
- Yeah?

Look at it. It's red and white checked.

Right.

It was green, Kevin-- green, felt tablecloth.

Bigger change, Kevin, bigger change, bigger change.

- There was a barn.
- There was a barn.

There was a whole daytime scene.

There was no moon, no coyote.

The trees are gone, The grassy knoll is gone.

Teller is gone, and I've turned you into Teller.

Ahh...

Oh, we need to wrap it up tonight

because I need to find out what happened to the other guy!

I'll tell you all about it next week,

when "Penn & Teller: Fool Us" returns.