UNLIMITED

 THE BANACHEK APPROACH

APPROACH TO POCKET WRITING
TABLE OF
CONTENTS
I Will Never Forget It  ................................................1 How Big Does A Prediction Need o Be? ............ ............16
16
Te ools of the rade ...............................................3 Routines  .....................................................................17
Pencil It In .............................................................3 Te PW Add-A-Number
Add-A-Number ...................................
........................... ........17
17
Writing ools ..................................
.........................................................
....................... 3 Te rade Show Incapacitator ............................19
Writing ablets  ...........................................................4 Cell Phone Ring Saver ................................
........................................
........20
20
Post- It tm Writing ablet ..................... 4
Hotell Key Post-It
Hote Chair Prediction...................................
..................................................
...............21
21
Business Card Writing-ablet...............................4 All in a Name..................................
.......................................................
..................... 22
ablet Placement ..................................
...................................................
................. 5 Garage alk
alk .......................................................... 23
Te Setup................................................................5
Setup................................................................5 Room Service ......................................................25
Te Pencil Is Mightier Tan the Pen ....... ..............
..............
......... 6 Te Photog
Photograph raph....................................
...................................................
...............27
27
Magician’s Tinking ...................................................
.................................. ................. 7 Al Baker’s
Baker’s Chicken Feed ....................................
..................... ...............27
27
Clothes....................................................................8
Clothes ....................................................................8 Te Al Baker Switch ...........................................28
Subtleties Of Te rade.............................................9 Watch Tis ...........................................................
................................................... ........29
29
Congruency ...........................................................9 In Case o Mistakes ................................................30
Concealment........................................................10 Te Challenge .................................
......................................................
..................... 30
ConJacketment
ConJack etment .....................................
....................................................
...............10
10 I m a PHD ............................................................30
’

Blocking ...............................................................11 Closing Bits and Pieces ...........................................31

Directing ..............................................................11
Pliant...................................
.....................................................................
.................................. 12
Writing Subtleties Shortcuts ..............................12
Entschuldigung ...................................................12
Hippopotomonstrosesquipedaliophobia .........13
Locality  .......................................................................14
 .......................................................................14
Shirt Pocket....................................
..........................................................
...................... 14
Wallet ..................................
....................................................................
.................................. 14
Envelope
Envel ope Slit ..................................
........................................................
...................... 15
Te Ostin Clip .....................................................15
Te Mason Jar with Ostin Clip..........................15
Clip..........................15
Billet Switches................................
......................................................
...................... 15
TABLE OF
CONTENTS
I Will Never Forget It  ................................................1 How Big Does A Prediction Need o Be? ............ ............16
16
Te ools of the rade ...............................................3 Routines  .....................................................................17
Pencil It In .............................................................3 Te PW Add-A-Number
Add-A-Number ...................................
........................... ........17
17
Writing ools ..................................
.........................................................
....................... 3 Te rade Show Incapacitator ............................19
Writing ablets  ...........................................................4 Cell Phone Ring Saver ................................
........................................
........20
20
Post- It tm Writing ablet ..................... 4
Hotell Key Post-It
Hote Chair Prediction...................................
..................................................
...............21
21
Business Card Writing-ablet...............................4 All in a Name..................................
.......................................................
..................... 22
ablet Placement ..................................
...................................................
................. 5 Garage alk
alk .......................................................... 23
Te Setup................................................................5
Setup................................................................5 Room Service ......................................................25
Te Pencil Is Mightier Tan the Pen ....... ..............
..............
......... 6 Te Photog
Photograph raph....................................
...................................................
...............27
27
Magician’s Tinking ...................................................
.................................. ................. 7 Al Baker’s
Baker’s Chicken Feed ....................................
..................... ...............27
27
Clothes....................................................................8
Clothes ....................................................................8 Te Al Baker Switch ...........................................28
Subtleties Of Te rade.............................................9 Watch Tis ...........................................................
................................................... ........29
29
Congruency ...........................................................9 In Case o Mistakes ................................................30
Concealment........................................................10 Te Challenge .................................
......................................................
..................... 30
ConJacketment
ConJack etment .....................................
....................................................
...............10
10 I m a PHD ............................................................30
’

Blocking ...............................................................11 Closing Bits and Pieces ...........................................31

Directing ..............................................................11
Pliant...................................
.....................................................................
.................................. 12
Writing Subtleties Shortcuts ..............................12
Entschuldigung ...................................................12
Hippopotomonstrosesquipedaliophobia .........13
Locality  .......................................................................14
 .......................................................................14
Shirt Pocket....................................
..........................................................
...................... 14
Wallet ..................................
....................................................................
.................................. 14
Envelope
Envel ope Slit ..................................
........................................................
...................... 15
Te Ostin Clip .....................................................15
Te Mason Jar with Ostin Clip..........................15
Clip..........................15
Billet Switches................................
......................................................
...................... 15
I WILL NEVER
FORGET IT
D
occ Hilord’s Weerd Weekend in 1994. I pretended to remove something rom my pocket
I had attended ony Andruzzi’s events with great care. I asked Docc to hold out his hand
beore, but it had been a little while palm up. I gently placed this item on his open hand.
since I had attended any such group o “Be careul, it’s invisible and very rare. Do you
bizarre o mentalist get together. It was know what it is?” 
at this event that I lectured
le ctured on my PK ouches,
ouches, show- Docc had no idea, and why should he?
ing different ways to create the time and space effect “It’s an invisible Palm-top Computer.” 
that has since become a classic in almost all mental- *NOTE:  At the time I reerred to it as an elec-
ist and magicians staple o go-to-effects to perorm tronic dictionary. Later, as well as now, we have
impromptu, on stage or during walk around events. palm computers.
I had believed, (not hanging around most magicians I made a motion with my lef index finger into
or mentalists) that this tool I am going to teach here my right hand as I asked him to: “Please turn it on.”
was already just such a tool, something that all men- I knew that by miming the action Docc would
talists and magicians used. Boy was I in or a shock. imitate exactly what I had just pantomimed. He did
It was at this same convention that I taught Rich- as requested, pretending to hit a button.
ard Webster and Docc Hilord some o my metal “Oh, sorry you have to open it up first.” 
bending techniques. Ten I tried one more thing I made an opening motion with my hands
or them. I perormed what developed into what I encouraging Docc to copy my actions again. Docc
believe to be the first ever invisible book tests. At and the others in attendance chuckled nervously.
the time, it utilized what was currently the newest Docc opened the invisible dictionary and again pre-
computer gizmo, the Electronic Pocket Rolodex. tended to hit the button.
Tis was a handy dandy new tool that allowed you “Now down on the bottom there is a button
to enter all your phone numbers and contact’s inor- that says DIC ,”,” a chuckle rom the boys or some
mation. It was wonderul and we did not care that it unknown reason, “It is short or dictionary. Please hit
did not have a flash drive. When the batteries went that.” 
dead, you removed them, replaced them and re-en- Docc did just as requested.
tered all o your contact’s inormation again. And “I took all the original words out o that dictio-
you were happy to, all or the comort o knowing nary and put my own avorite words, all seven letters
you could take your phone numbers with you when or less, there are 300 words, all seven letters or less. I
you lef home. How lie has changed. Shortly afer, have names, places, things and even a ew words that
Pocket Electronic Dictionaries came on the market, are not so nice. Name a number rom one to nine.” 
now known as PED’s. My routine ell into place. Te Docc named two.
same routine I perormed or Docc and a ew other “Name another number rom zero to nine.” 
top name mentalists on that eventul day. Docc named six.

1
 “Punch that in please...and finally, name another I assumed that everyone in attendance would
number rom zero to nine.”  know “HOW???” But they did not. Te tool I had
Tis time Doc named seven. assumed every mentalist used was overlooked by
“So you entered two hundred and sixty-seven. most. Tey all knew about it but had simply over-
Please hit the enter button and a word will come up, looked it or other tools. When I revealed how, they
it will be seven letters or less. Let me know when you all smiled. Not one o them had caught it and not
see it.”  one had really thought this tool worthy o time and
Docc played along and told me he saw a word. effort until that moment. Afer I lef Weerd Week-
I asked or the word and he stated it was “Damien”  end I started to ponder upon why so ew mentalists
“Ah, yes, one o my avorite names. Do me a avor, ever used this tool
would you please show it to Richard.”   A ew people rom that meeting called to ask or
Docc careully handed the invisible contraption pointers. A ew other people I had shown the method
it to Richard. to do told me that the ew times they had tried to
“Richard, do you see the word Damien?”  use this tool they had a hard time getting away with
Richard being the good guy he is played along as it and had been caught. Tis made me think more
well, “Yes I do,”  he stated. about exactly what it was that I was doing differ-
“You’re just as crazy as Docc.”  ent, what gave me confidence to use this tool all the
Tis brought a good laugh rom the ew present. time? Over time I realized many o the simple things
“Docc, please close the computer. I will get it rom that came instinctively to me, all the little subtleties
 you later. Earlier today I wrote something down upon (there is that word again) that gave me an advantage
a piece o paper, I was not looking as I was doing it, in and allowed me to use this old tool on stage, close
 act I was doodling. up, on radio and V and in almost every situation
Doodling is when you let your subconscious take except when I was naked. I am going to share that
over and you scribble as you relax. Sometimes you inormation with you here. You will benefit rom my
draw a picture, sometimes you shade or scribble years o experience and I think you will find this tool
words. When I was doing this I was thinking about ar outweighs most secret writing tools that are out
what word you would choose rom my invisible palm- there. Plus you can find the necessary items or this
top. In act here it is.”  tool almost anywhere anytime.
At that point I reached into my top shirt pocket, So what is this tool?
I removed a ew items that where in there, reaching First let me state that I like this tool or one other
into the bottom o my pocket with my very empty reason, the name o it is what it is. In a day and age
hand. Between my index finger and ring finger I o creative titles that sound like a song named by
removed a olded business card and handed it to the Goo Goo Dolls (Iris being an example o a song
Doc. You could cut the tension in the room with a that has nothing to do with an eye or flower or cam-
knie. era), in a day and age where people name tricks and
“As said, I was doodling and scribbling, not sure methods afer hotel room numbers, old girlriends,
how neat it is but surely you can make it out, go ahead unusual words or mental conditions, this tool is
open it up.”  named exactly what it is..... POCKE-WRIING!
Docc, being the perormer he is, kept his com- Yes, you write in your pocket. Sounds simple
posure enough to open the olded card with antic- enough right? But therein lies the rub. I you just
ipation and showmanship. When he saw what was simply write in your pocket, you will probably get
written upon it he broke out into laughter. Richard caught. You need to understand the tools, the sub-
and others clamored in to see what was on the card. tleties and how to present the tool correctly, and
more importantly, when you Pocket-Write, you

DAMIEN need NO to think like a magician.

Tose present floored me as much as I had floored

them with the utterance o one word, a question i
you will: “HOW???”

2
THE TOOLS
OF THE TRADE
PENCIL IT IN It is also possible to use a cut down crayon. A
black crayon can look like a sharpie.
Now as to the size o the pencil. I simply take a
A simple way to explain it would be to tell you gol pencil and break it. Make sure the broken end
that you need a writing surace and a writing tool eels different rom the point end. Sometimes I will
you can use in your pocket. Tat would oversimpliy take the time to cut the pencil to size. But the most
it, but it is the truth. Te size o the writing tool, the important thing is to have it comortable to hold in
size and access o the paper used will all make your my pocket. Small enough so it does not look as i I
experience a wonderul one and successul. But that am doing something in my pocket someone should
is not to say that in a pinch you cannot use any piece not be doing in public. Now usually people will
o paper and find the right writing tool you need. ofen say bigger is better, but in this instance it is
But the proper way to use these items this will come not. I have played with various size pencils through
with experience using the proper tools up ront. the years, and I find that about a centimeter or two
in size is perect. Tis is just big enough to hold yet

WRITING TOOLS  small enough to not take space in my pocket when I

write. Now I usually make two or three o these just
in case one ever breaks; however, I have never had a
First thing you will need is a writing point break due to the act I smooth the points down
tool. Now I like to recycle items I use in my ahead o time by writing till they wear down. I can-
show. I use gol pencils or most o my per- not stress this tip (pun intended) enough.
ormances, so they are easily accessible but
any pencil will work. Some are better than
 Now before you get ahead of yourself and say,
others. Te perect pencil is a gol pencil
“Wow, I would like to write in pen,” let me warn
that does not have a long sharp point. Use
 you, you are not the first to think of this and I will
one that has a shorter rounder point.
cover why you should not do this later. If you still
IMPORTANT:   You will want to make
insist pen would be nice, I will let you know what
sure you dull the point. I it is too sharp the
 you can do instead to make it seem it is written in
point could break off when you are writ-
 pen. But for now, stay with the tools I am describing.
ing. Tis will also allow or smooth writing
which will be the same result when point
or any side o the pencil makes contact as it
writes. Carrying a good dual pencil sharp-
ener will help. But still dull the point afer.

3
WRITING TABLETS
HOTEL KEY Once in place I old the top piece in hal once and
open it back out to create a crease. Do not be influ-

POST-IT  TM enced to old more than once; I will cover that later.
Te reason I use Post-it™ note glue or reposition-

WRITING TABLET  able glue, or removable glue stick rather than regu-
lar glue is so I can remove it later when I get down to
the last sheet and stick a new stack o sheets or cards
in place. Te small amount on the back o the sheets
will not hold it firmly in place or a long period o
time. Tis is why you cover the entire back. It is pos-
sible in a pinch to simply use a stack o Post-it™ notes.
Te issue comes when you get down to the last ew
pages/cards as the backing is not sturdy enough or
you to write upon. Te great thing about Post-It™
notes, is that when olded, they seal themselves.

BUSINESS CARD
WRITING-TABLET 
Inside your pocket you will need a writing sur- Tis is the first writing tablet I used or many years
ace. Tis is not the actual item you will be writing prior to inventing a ew others. In act, it was my
upon but the surace that the papers, cards or such first attempt at a permanent board in my pocket and
will be set upon. I will describe two. I still use it when working walk around mentalism at
Tis first one I use all the time. It consists o a corporate unctions, trade shows, or restaurants as it
hotel key. You only need one. Next you will need allows me to hand out my business cards. One word
something to write upon. I use Post-it™ Note pads. o caution, you do not want to use glossy cards or
Now, the perect size or a hotel key is the 656 100 Pocket-Writing as pencils ofen do not write well on
sheets that are 51mm by 76mm. Tese seem recently rare them. A good card stock or linen finish works well
to come by in the USA, but you can see in the picture but double check beore you get a bunch o cards
how well they fit. I remove the back cover and use made up or your business card writing tablet.
a Post-it™ note glue stick or reposi- As said, I like to recycle items I use in a show, so
tionable glue stick (same thing di- I keep the cardboard backing o my 3 by 5 sheets o
erent brands) and cover the back paper used in my Q&A routine. I cut them down to
sheet with glue. I only use a hal o a size about 4 millimeters or so wider than the width
the stack at a time. I then press it o the business cards and about two inches longer.
firmly to the hotel key with the open Ten I place a business card on the cardboard and
end towards the edge o the key. cut two slots just beore the end o the business card.
In act you can get closer to the end o the card than

4
  TABLET
PLACEMENT 
Writing on either o these ‘tablets’ is pretty much
going to be set up the same way, they just sit in
Cards placed your pocket waiting to be used. As stated, the busi-
Cardboard upon backing, ness card tablet goes in your pocket with the extra
backing 2 rubberbands extended piece toward the bottom o your pocket.
with slots hold in place. In both instances, you will be olding the Post-It™
Note down towards the bottom o your pocket and
pulling out up towards the opening o your pocket.

 THE SETUP
Prior to placing the tablet in your pocket, you will
want to drop a ew Pocket- Writing pencils in your
pocket, two or three will be fine. Tese simply sit in
the bottom o your pocket waiting or the moment
Stack o approx. you need them.
12 business cards When ready to write, you reach in your pocket
pre-olded in hal  and pick up a pencil between your thumb and ore-
finger. You pull the tablet up to a comortable posi-
tion in your pocket and hold in place with your mid-
dle, ring and the digitus minimus (more commonly
known as the pinky) fingers. When ready to write,
you see in the picture. Te closer the rubber bands simply write the ino on the papers/cards. When
are to the end o the cards, the easier it will be to done, drop the pencil, grab the top sheet, old down,
remove the card later. Next I take a stack o about pull off or out o the bands and old again the other
12 business cards, preold them in hal and open way. Once you have removed the sheet and shown
them up. I then arrange them in a stack and I place your prediction you are ready to go again. I will ofen
them on the cardboard. Now I put two rubber bands old the second Post-It™ Note in hal in my pocket as
around the stack and the cardboard tablet between I move to the next table resetting it all again. I warn
the slots holding the cards in place. wo bands in once more, do not preold twice.
case one breaks over time. Again, do not be influ-
enced into olding more than once. I will explain later.
Also make sure the bands are not too tight. Tis
set up will go into your pocket with the extra two
inches at the bottom o the pocket. Te idea is that
the extra two inches o card will help keep the busi-
ness cards up higher in your pocket or you and
make it easier to position the tablet or writing.

5
THE PENCIL IS
MIGHTIER THAN
THE PEN
I
n 1965, engineer Paul C. Fisher patented a space station Mir in the mid-1990s or a promo-
new pen design that changed the way Astro- tion on QVC, as the first product “sold rom space.”)
nauts write in outer space. His Fisher Pen Smart advertising.
Company reportedly spent one million dol- In act, both the US and the Soviets ended up
lars o its own money to develop what was using the pen, but prior, both started out using a
first called the “Anti-Gravity” Space Pen, and later pencil, however, there was a problem. Pencil points
simply the “Space Pen.” Fisher happened to per- tend to break, so the Soviets started to use grease
ect his invention around the time that NASA had pencils (same type I use in my Banachek Bandwrit-
its $128 pencil problem, so Fisher capitalized on ers) and the US started to use mechanical pencils
that bad press and publicized his and they were paying $128 per
heavy-duty pen as the obvious pencil. Now you might ask your-
solution. And it worked. sel what is the problem with a
Now what was that $128.00 pencil breaking off? Well i you
problem? Well urban legend states are in outer space, that little bit o
that the US spent millions o dol- graphite floating around the craf
lars developing a space pen while can get into any o the machinery
the Soviets used a pencil. Te or electronics or even in some-
problem being that without grav- one’s eye. On top o that, there is
ity, a regular pen does not want an issue with anything flammable,
to write due to no pressure on the especially afer the fire on Apollo
ink. I you have ever tried to write upside down 1. Te US decided to cut down on anything flam-
with a pen, you quickly find that it will stop writ- mable and that included every pencil, lead or grease.
ing afer a short period o time. Anyway, this story is So they went to the Fisher Space Pen. A pen with a
not exactly true. As you can see, the US Space pro- pressurized nitrogen cartridge that orced the ink to
gram did not spend money developing a pen, it was flow and an ink flash-point o around 200° C. NASA
done privately by the Fisher company and they used paid just $2.39 per pen with an order o 400 pens in
the act it could write in outer space to sell the pen 1968 and the Soviets purchased 100 pens and Fisher
and still later a “Space Pen” was used on the Russian

6
got to use the “Used in Outer Space or their add Tere is nothing worse than bringing a prediction
campaign. out, opening it and you have a blank piece o paper.
Now you may be asking yoursel, what does this “Oops, in my excitement I orgot to write my predic-
have to do with Pocket-Writing? Te answer is tion, I promise it was correct!” 
everything. I you insist on writing in ink, then I suggest you
Tere is not a single wide eyed mentalist that use a dark blue pencil. Since your spectators have
has not hit upon the idea o, “Oh, I will make the nothing to compare the writing to,
first Pen-Pocket-Writer.” rust me, i you think this it will look as i it was written
at any point you are not the first. Many have been in ink. Which brings me to
made, and still others have sought to market them Magician’s-Tinking...
only to find out quickly that people return them.
Money and time is lost. You see, i you write in your
pocket, you tend to write with the point up and the
end o the pen at an angle down. Gravity is not your
riend. On top o that, due to the pen being much
shorter to enable writing in your pocket, afer a
much shorter period o time the pen runs out o ink.

MAGICIAN’S
THINKING
A
nother idea, usually brought up by the detriment o the power the effect could have had
magicians who start to do mentalism on the audience members.
and who start to do Pocket-Writing, Let me give an example. Heidemarie is sitting
is the thought that the writing should with a group o riends. I approach:
match in style and ink/pencil-type “Hi, my name is Banachek and what I do is read
as the other writing instruments used in the actual minds, let me take about two minutes o your time
show. I disagree. and show you.” Now Heidemarie and her riends
Don’t misunderstand me, i it matches, great, but are intrigued, plus I am only going to, “ake a ew
really YOU the entertainer will be the ONLY ONE minutes,”   so what is there to lose? Tis could be
thinking about this. As magicians and even mental- interesting...
ists we ofen over-think our effects, sometimes to

7
 “Do you know what this is? It is your uture, there the paper that has been sitting in view the whole
is no money inside but it is your immediate uture and time (at least they think so), there is not a single per-
soon it will be something completely different. Hold son there who is wondering, “Wait, I have seen him
out your hand.”  writing in pen all night as he walked around, but this
I place a wallet upon her hand. is written in pencil.”   Not a single person. Tey are
“Don’t open it. I am going to ask you a ew personal all so blown away by what is on the paper that the
questions, but not too personal. What is your avorite type o writing instrument used is the last thing on
ice-cream?”  their mind. rust me, I have been Pocket-Writing
She answers “Rum Raisin”. since 1976 and this is July 2014. Tirty-eight years
“Anything on it or just plain?”  o Pocket-Writing and not a single person has ever
Again she answers. At this point I am simply get- pointed out the discrepancy. Tere was a point I was
ting her to relax, I ask one or two more innocent working six restaurants a week, sometimes two a
questions then go in or the kill. night, hitting table afer table. I have Pocket-Writ-
“Okay, this one is important. What was the name ten at trade shows, five shows an hour. I have Pock-
o the first person you ever kissed?”  et-Written on stage, close up, in parlor situations
“Shemar,”  she responds. and not once has anybody ever pointed out this pre-
I ask i anyone else there knew that. Usually the diction was written in something other than what I
response would be “No.” I “Yes,” I ask that person i was using in the show. And why should they? Num-
we ever spoke beore and i anyone else knew that. I ber one: they are ocused on the how the heck could
want to make it clear, yet in a subtle way that there I have know what they were going to say, and num-
is no way I could have known that without saying ber two: in most instances the prediction was made
those words yet. Tis also gives me time to start to earlier so why would I not have used a different writ-
pocket write the name and do it while all attention ing instrument. o think otherwise would be magi-
is on the people I am asking these questions to. All cian’s guilt. Lose the guilt i in the moment you want
eyes are on them as they respond so all eyes are off your presentation to look as real as possible. (Let
me. me be clear or those who will nit pick, this is not
Next I ask: “What month were you born in?”  a statement saying you should or should not use a
She responds with, “April.”  disclaimer, I am talking about in the moment o the
I state, “April, that is the ourth month right?”  perormance piece).
Tis allows me to write a 4 as she responds (again But again, or those who insist it should be so, use
attention is on them) and gives me time to do so. a colored pencil to simulate pen or a black crayon to
“When in April?”  simulate a marker.
“April the 22nd,” She replies.
I then ask, “Did anyone else here know that?”
Again i someone responds I point out that they and
I have never spoken. I no one then I might quip,
CLOTHES 
“So now you know and have no reason not to buy her It should go without saying, loose pants are better
a gif on April, 22nd.” Tis again puts the attention than tight. One can do it in jeans but they need to
upon the people, gives me time to write and gives be loose fitting especially around the pocket. I have
me time to old and remove the prediction. At this written in tighter jeans but it is not easy and I would
time I also point out I was doodling earlier or some not recommend it.
other excuse or why the writing may be bad (See It is also possible to write in your coat pocket. I
Cacography) as I was looking over at them and the have also pinned a pad under my arms and writ-
act that the wallet was her uture but is now her ten with my arms crossed but this was or a specific
past. Oh and did you notice because I repeat the routine and with my back turned to the audience
date, everyone remembers it again? members.
Now lets jump ahead as I will cover a lot o this
again later.
When I remove the prediction rom the wallet, as
they open the olded paper and see that written upon

8
SUBTLETIES OF
THE TRADE
S
o now you know the tools. Look at the bright signal beacon that something is going on in
picture below and tell me who is using your pocket.
the proper technique or Pocket-Writing Microsof’s Bill Gates would be a great pocket
and who will get caught? It is definitely writer. In almost every picture you see o him, his
not number six. But who else and why. hands are in his pocket. Even to the detriment o
Can you pick them? Yes I said them? Tere are a ew good grace. In act in 2008 Mr. Gates hit all the
here who would get away with it and or different newspapers when he shook hands with South
reasons. Korea’s 8th President and 2001 Noble Peace prize
recipient Kim Dae-jung using two hands but gave
what was reported as a “disrespectul handshake” to
10th President Lee Myung-Bak o South Korea, and
again in May 2013 a “disrespectul” hand in pocket
handshake to South Korea’s 11th President Guen-
Hye... and they elt it was done on purpose. A one-
hand shake is ofen seen as disrespectul in South
Korea and parts o Asia, and is normally reserved
or someone younger or a good riend. Doing it with
your other hand in your pocket is even worse. Now,
Bill Gates should have realized or been told that
there is an appropriate way to meet leaders o State.

CONGRUENCY
Te first and most important thing is that your
body language must have a state o consistency or
Pocket-Writing. I your hands go to your pocket
when you Pocket-Write and only go to your pocket
when you do so, then you will be sending a clear and

9
 Te report that he did it on purpose is not true.
In act, I suspect it was the reverse since in almost CONJACKETMENT 
all o Bill’s pictures online he can be seen giving this
hands in pocket handshake to many people he liked.
Bill Gates is a powerul yet casual person, and as
time went by I am sure he simply elt relaxed.
Customs are customs but it is important that
when it comes to Pocket-Writing, you have to set up
a standard or your Pocket-Writing body language.
When I perorm a center tear, i you watch my
PSI series o DVD’s you will see I set up the idea I
stand with my hands behind my back long beore I Correct Incorrect
need to do so in order to tear up the “evidence” even
smaller. I my hands went behind my back only in I like to wear a suit jacket when perorming
the moment I was tearing up the evidence, then it Pocket-Writing. Wearing a suit allows me to use the
would seem suspicious. Te same when it comes to  jacket or cover when writing. Te ront area o my
Pocket-Writing. Beore as well as afer Pocket-Writ-  jacket conceals that there is any movement in my
ing, I have my hands in my pocket. pocket. Bill Gates is definitely going to telegraph he
Once in France, I was teaching Pocket-Writing. is writing in that picture due to the act his writing
At the end I asked i anyone had any questions. One hand is acing the audience. President bush might
good looking gentleman stated, “In our country, it get away with it i he is writing with his lef hand
is rude to have your hands in your pockets.”   I simply due to the act his body is hiding that hand and the
stood, smiled and waited, slowly the room started act that both hands are in the pockets, on the other
to chuckle, then they all started to turn to the gen- hand I like to write with one hand in my pocket but
tleman who had just made that statement and grins or setting up Pocket-Writing, I will ofen put both
took over their aces. All eyes were on him, finally hands in my pockets, and remove one, gesture with
and everyone in the room started to laugh. He had it, place it back in my pocket and remove the other
his hands in his pockets as he was making the state- and gesture. Switching between hands rom time
ment. I was able to point out that in this day and to time and sometimes leaving just one hand in my
age, people have become much more casual, and yes pocket as I speak. Finally settling upon one hand in
there are certain situations that it can be appear to my pocket to write.
be rude, as in the Bill Gates fiasco, but overall it is So o the presidents pictured, who would be the
accepted in our society, especially i you have set it best pocket writer? I you picked President Obama,
up as part o your usual body language. Congruency you are correct.
in body language is the key.

CONCEALMENT 
o the right are three US Presidents:
Bush Senior, Barack Obama and Presi-
dent/CEO o Microsof, Bill Gates. Look
careully and tell me who would get away
with Pocket-Writing more ofen i they
were Pocket-Writing?

President Bush SR President Obama Bill Gates

10
BLOCKING
Another point to take rom the above is i writing
on stage and i Pocket-Writing in your right pocket,
you will want to ace to your right using your body
to block the writing (do the opposite i lef handed).
I will also ofen have the person on stage point
to an audience member seated to stage right and we
speak and get ino rom them. Tis way I can use
the positioning o my body on stage and also the use
the person on stage to block my right hand in my
pocket (or more clarity see the add-a-number effect
herein.) On top o that, all eyes go to the person in
the audience especially i that person is standing and
responding to questions.

DIRECTING any personal meaning to you?”   Or make a simple

silly statement; “Oh, the number o a squirrel clothes
As already mentioned, but can never be empha- designer,”  or “Tat reminds me, did you ever wonder
sized enough direct the gaze o your audience away where people in hell tell each other to go? I did just yes-
rom yoursel as you write. As much as you can, do terday and it was while thinking about...” But do not
the writing in the off moments; you do not have say, “Is there any reason you chose that?”   You leave
to write right away. Ask a simple question to place them open to mumbling about something totally off
all the attention on the person answering. Tis is track. You may be thinking that the sentence, “Now
when you write. Again, do not eel you have to write why did you choose that? ” and “Now does that num-
immediately, take your time, divide the inormation ber have any personal meaning to you?”  are the same,
up. As in my example earlier, I asked or the month but they are not. One is an open-ended sentence and
o the person’s birth. I then point out and state in the other is a simple yes or no answer. By adding
such a way they have to answer that it is the ourth the word, “Personal” you have limited the replies to
month; “April is the ourth month, right?”   Tat put yes, no or a specific personal answer. Plus I would
the attention on the person and gave me time to only ask that question with anything that deals with
write our and a line. Next I ask or the date in the a number or date.
month. I then ask i anyone else knew that. Tat gave Okay, lets get back on track. So we have directed
me time to write in the date and remove and old the by putting attention on people but lets talk about
paper. All while the attention is on the other people, our own body language again. I you lean towards
and i no one piped up and answered “No”, I would the pocket you are writing in, you will telegraph
ask another question like, “Is there any way I could exactly what you are doing. I you think too much
have known that? Did we speak prior to now?”  about what you are doing, again you may well tele-
A side note, I hate it when I see mentalists and graph what you are doing. It is important that the
magicians ask, “Now why did you choose that?”  It top hal o your body, the part that is communicat-
screams o a perormer who has never thought about ing with people, is separate rom your bottom hal.
what he or she is going to say in that most crucial o People are looking at your ace and i all your body
moments when they are secretly writing, whether language is towards your hand in your pocket, it will
it be in the pocket, nail writing or double writing. telegraph like a shining beacon.
Come up with something better. rust me, I know, I Learn to be casual. Don’t lean towards that pocket
have asked the exact same question when trying to either to the side or down towards it. Tat is why
get out o an awkward moment, it is probably why I in the previous picture, President Bush Sr. is doing
hate it so. Rather ask, “Now does that number have a good job writing in his pocket even with a short

11
 jacket on. I President Obama or Bill Gates lowers I given say a number or word with a 0 (Zero or
their mic when they write, they will telegraph some- O), or a letter with a Q in it, I will write the 0 or
thing is going on. Rather move the bottom o the mic Q over and over as i scribbling it many times over
up and sideways and slightly away rom the mouth i itsel. I will do the same with the rest o the number
you have to move it while waiting or the response. so it all looks written in bold. Tis way it is very clear
Tis will signal the audience to look at the person what number is that is written and the ends do not
in the audience without telegraphing anything at all. have to match up.
When working close up, use your eyes to direct I writing an 81, I will write the 8 as a cursive cap-
attention to people. Look away rom the person you ital S.
are working with and turn to someone else and ask a
question. All eyes will go to that new person.

PLIANT  I writing a 9, I will write it as an upside down 6

Okay so what is Pliant? Well it is simply the French instead o a line with a circle on top.
word or old. Figured I owed the French something Ofen i a month with and 8 or 9 or such I will
afer mentioning that other story. write out the abbreviation o the month rather than
I have emphasized time and time again that you the numerical status.
should only old your card once prior to writing Which brings me to my next point; some people
upon it. Tere is a good reason or this. I you old may write better in cursive normally but find when
the card, or paper, into quarters, you will find that they Pocket-Write, printing is easier. Some people
you have created deep valleys in the writing surace will do the exact opposite and find that they writer
and ofen when you Pocket-Write, a piece o cru- better in cursive in their pocket despite the act they
cial inormation will not write in that crease like the always print letters when the write. Experiment both
number one, a line or some such. You are much bet- ways and find out what works best or you. Find
ter to old it a second time, in your pocket afer you short cuts that work or you. Use abbreviations.
have removed the paper rom the tablet. It might
seem like a minor thing, but it can be the difference
between convincing a skeptical person that the right
thing is indeed written upon the paper and that can
ENTSCHULDIGUNG
be the difference between an impressed person and Since I gave the French a tip to the hat earlier, I
creating more skepticism. thought I would do it or the Germans. Entschuld-
igung means excuses, and in this case an excuse is

WRITING a good thing. My hand writing is so bad that I can’t

read it and having my wie come up, stick her hand

SUBTLETIES
in my pocket and secretly write is not an option
and would look, well strange to say the least. Pock-
et-Writing does not make it any better so I have
SHORTCUTS  many excuses or why it is so bad. Here are some
tips to make your writing more acceptable.
When writing in your pocket you will probably
be like most people, your handwriting will be sub
par. Especially i your regular hand writing is pretty Excuse Number One
bad. You need to make sure that the person looking
at it during the reveal can actually read it.  You heard this in an earlier example.“I was doo-
Whenever writing any letter or number that has a dling; do you know what doodling is? It is when you
circle in it, matching up the ends can be hard to do. scribble without looking. You write or draw subcon-
Numbers like 8, 9, 0. I have a ew ways to fix this. sciously. I was looking over here and thinking about
what you might say. I did not look at it, but doodled

12
something on this piece o paper. I am not sure i you
can read it or not, but look and see i it says 4/22 and
Excuse Number Three
Shemar.”  “I am ofen asked i anyone in my amily can do
these things Well until recently I would have told you
no, however my granddaughter, who is just starting to
Excuse Number Two read and write has shown some promise. When I told
her I was coming to New York she ran into my office
“On the way here, I was doing something you should and etched a piece o paper and began to write some-
never do when you drive. No not that,”  (use this line thing and olded it up. Well I placed it in this envelope
in the right situation only). and it has been here since that time. Now remember
“I was trying to write while I was driving. Tere she is only our and is just learning to write so I am
are a ew reasons you should never do that. One is not sure how neat she wrote it.” 
because you can almost hit people. I almost hit a post- Tis last is one o my avorites as it takes all the
man. And two, i you have ever done it, you know it is responsibility or the bad writing off me. I the spec-
almost impossible to read later (everyone can relate tator was to mention how bad the writing is, he is
to that). I did not really look at it, not sure i it is read- not insulting me but he is insulting a small child. No
able but I olded it up and placed it in....”  one wants to do that. A simple, “What do you expect,
she is only our,” will hurry them to figure out what
it says. But I have never had that happen due to the
I would love to know what excuses you come up act I point out her age just prior to them opening
with if any are needed!  it up.

HIPPOPOTOMONSTROSESQUIPEDALIOPHOBIA
Okay, you’re probably thinking what instance, i someone says, “supercali-
is that title and is it a real word? It is! So  ragilisticexpialidocious”   when asked to
now you’re probably thinking it means give a word seven letters or less I can
a ear o monstrous looking Hippos, i do one o two things; remind them that
you thought that you would be incor- I said a short word o seven letters or
rect. Well sort o. It means the ear o less, or point out that despite the act I
long words. With Pocket-Writing that asked them to say a short word o seven
ear is always prevalent. So we need to letters or less, they chose a large word,
control the length o long words and then pull out my prediction and show
find ways to get around them. them I am correct. And no, I did not
Te easiest way or me is set in the write out that 32 letter word. I simply
example I gave at the beginning o this write...“Supercal.”   Tey know what it
manuscript on Pocket-Writing, Te Invisible Book means. And depending on the person I might say
est. I simply told them the dictionary contained all something like, “Now I had a word in mind, I knew it
words seven letters or less. I will ofen tell someone was not the whole word as it did not make sense, but
to think o a simple word, seven letters or less. Tis now I understand.”  A hit in anyone’s book.
solves most problems. *SIDE NOTE: Te word hippopotomonstroses-
Another way is to ask questions you know the quipedaliophobia is indeed taken rom a misspell-
abbreviation or. Tings like months o the year or ing o Hippopotamus and the word Monstrum
states. (meaning monster) is used to exaggerate the length
Te other thing is i someone gives you an extra o words, put together with the word phobia that
long word, simply write the first part o it. For means ear.

13
LOCALITY
S
o where do we make it appear we are pull- they open it. I a Post-It™ note, it will appear to be
ing the prediction out rom? We certainly sealed. Further proo you could not have just writ-
do not want to bring it out rom our pocket ten it.
where we are writing. Tat might point to
the method, so what do we do? WALLET 
SHIRT POCKET  As said, there is indeed a time and place or using
a wallet. In the trade show example o effects I will
use the wallet to keep a spectator in place. While
My avorite thing to do is to simply act as i I am holding it they cannot go anywhere. It also gives a
removing it rom my shirt pocket or my side jacket great visual to other spectators.
pocket. Tink about it, i you were making a predic- Te wallet I tend to use is the
tion when you were driving on the way to the show, Mark Strivings Sight Unseen Wal-
would you really take the time to place it in a wallet, let. Tis wallet is a business size
an envelope or some other device? I you were doing wallet and has a hidden slit that
walk around, would you really be taking the time to allows you to secretly place some-
place it in any other place. No you would not, you thing inside rom the outside. Te
might old it but you would dump it in your pocket Peter Nardi Stealth Assassin Wal-
or later. As I will explain in a bit, there are times a let has also borrowed (with per-
wallet is the way to go, there are times you will want mission) this eature.
to isolate the prediction rom people in an envelope. You are looking at the slit in
But or me, removing it rom a shirt pocket makes the picture, it is along the stitched
perect sense, especially i I can leave them with seam.
impression my hand was empty when it went into What I like about this is when
the pocket. working on stage or close up, I
Te way I do this is very simple. Afer I Pock- can open the wallet to “check and
et-Write, I either old the paper or card up urther make sure I placed my prediction
or scrunch it up into a ball. My hand comes out and inside”. Tey see the prediction.
as I mention I placed it in my pocket earlier, the It is a duplicate and as I close the
hand comes to the top o the pocket, touches the top wallet I secretly push that dupli-
and drops the paper in. At that moment I remove a cate back up onto the wallet so later when I open it
pen, glasses or some other object rom the pocket. they will not see it. Now when I am ready to reveal,
As I place that object in my other hand or on the I pick up the wallet, at the same time removing the
table my hand is now seen to be empty as it reaches secretly written paper rom my pocket and simply
back up to my pocket and removes one or two other place the wallet onto the prediction hiding it. I I am
things. Finally when all has been removed the index using the Sight Unseen Case, I can even push the
finger and middle finger grip the Pocket-Written prediction into the wallet so I can handle it reely.
paper and brings it out slowly. It is in this way that One has to be careul not to reveal the prediction
I reach out to a spectator and have them remove it underneath the wallet while doing so, especially i
rom between those two fingers. Since it is olded, working on stage. Usually I see no reason to do this.

14
I will simply open the wallet, reach under the com- Tis gimmick was invented by
partment with the slit and pull the prediction out Bob Ostin and marketed by Dav-
into the open and vary openly and careully hand it enports as “Bob Ostin’s Dice Pre-
to someone else. diction,” 1953. An ad appeared in
I you do not have access to a ancy wallet, any Pentagram, Vol. 8 No. 2, Nov. 1953,
wallet with a slit through it into a compartment will p. 16. ony Corinda also mentions
work just fine. Ostin’s clip in Tirteen Steps to Mentalism, 1958, p.
186.Ostin’s clip was made with a rubber band or

ENVELOPE SLIT  elastic. Te model with a metal spring was devel-

oped and marketed in 1959 by Robert Nelson (shar-
ing credit with Syd Bergson) under the name “Nel-
I you want, a simple envelope son’s Mental-Gimic”; see Te Linking Ring , Vol. 38
can be used. Use a coin envelope and No. 12, Feb. 1959, p. 11.
about an inch or less rom the flap,
cut a very fine straight line, large
enough or your olded card or paper  THE MASON JAR
to go through. Do this on the ace/
flap side o the envelope.
When ready, place the envelope
WITH OSTIN CLIP
on the prediction, open the flap and Tis is the same as the Ostin clip but the clip
reach in with your index and middle hangs rom a string attached to the inside o the cap
finger, pulling the prediction through o a mason jar. Tis is screwed on to the mason jar
the slit. It will look as i the predic- and remains in ull view the entire show. When it
tion is coming out o the envelope. comes time to reveal the prediction the spectator
o hide the slit, you might want to draw a dark is asked to remove the cap. Since his hands are ull
square on the flap, placing it in such a way that the with the jar and the cap, he cannot remove the billet.
slit is against the line. Ten write the word predic- You remove the billet and hand it to him taking the
tion in the square. I would not show this side but it lid with the clip.
should pass a quick subtle flash. Te mason jar idea was contributed to Bascom
You can also hide the slit by placing a sticker on Jones’ Magick Magazine, by Robert Swartz.
the ace side o the coin envelope. I you want to get

BILLET SWITCHES 
real creative, you can seal off a section at one end o
the sticker so it does not stick to the slit but sticks to
the rest o the envelope just hiding the slit.
I using an envelope you should place a dummy Any billet switch can be utilized in order to allow
in the envelope or looks and eel. Tis can be per- the prediction to be seen in ull view. You can use a
manently planted or loose in the envelope depend- simple switch, the Jay Sankey “Paperclipped”or the
ing upon how you are going to use it. double-capped pen switch, the tin box switch or any
o the gimmicks that allow to see the prediction out

 THE OSTIN CLIP in the open. See the Al Baker effect, “Chicken Feed”
or the Al Baker Switch and a routine.

Tis consist o a Bulldog clip that appears to have

a billet protruding rom its metal lips. When this
clip is opened, the billet retracts into the clip. Tis
allows you to palm a billet, keep it hidden, reach up
to the clip as i you are about to remove the billet,
open the clip, and bring your secretly palmed billet
in to view. It should look as i you are removing the
billet rom the clip.

15
HOW BIG DOES A
PREDICTION NEED
TO BE?
I
love presenting Pocket-Writing in lectures
or magic meetings and conventions. It
allows me to prove a ew things to the magi- ”...THEY REACT.
cians and mentalists in attendance. One o
 THAT IS ALL
those things is that small things can play
big. Tink about it, Uri Geller used to perorm or
YOU NEED. “
thousands and bend a key. Te audience loved it,
they could not see the bent key way in the back but
they lived vicariously through the person who was
holding the key when it bent. Plus the act the per-
son was allowed to take the key with them. Further
proo that it was not a trick key and proo that it was
indeed bent. Te same goes or when you pull the
little piece o paper rom a small wallet. Te reaction
o the person you are doing it or sells the act that
what HEY are looking at is the right inormation
written on the paper.
Do not listen to magicians who are used to per-
orming large visual magic on stage when they insist
a prediction has to be large or ever yone to see. Tere
is nothing wrong with that, but I assure you it does
not HAVE to be that way. Tey open the prediction,
they see it, they get to take it with them to show
everyone else who wants to see it, and they react.
Tat is all you need. Te Add-A-Number routine
that ollows is a perect example o one such routine.

16
ROUTINES
S
o ar you have been given a ew basic rou- I tell them, “Tat is exactly the number I wanted
tines as examples. Mostly or the subtle-  you to choose.”  Tis elicits a ew titters rom the
ties involved. You certainly can use as is, audience.
but I would suggest you read on and pick I then ask them to tell everyone what their num-
and use subtleties spread out among these ber is so Joe can hear and write it on the board.
routines and adapt to your own custom routines. I Joe writes it on the board. As he starts, I turn to
mean, who wants to be perorming the exact same the second person who is situated in the middle o
routine someone else is perorming. the audience, “Have we ever met beore?” 
As they respond in the negative I react as i the

 THE PW way they spoke tells me something about them.

“Ah, you are going to be more difficult. Stare at my

ADD-A-NUMBER hand.” 
Tis time I hold up my right hand, part way
through I stop and hold up my other hand or a sec-
I stand on stage, hands in my pockets. On my ond. “Keep staring at my hand. Call out your number.” 
table is a small wallet. I pick it up and open it quickly Tey do so. Again Joe writes it on the board. As
and flash a yellow piece o paper inside. As I close it I Joe does so I turn to that person and state, “Ah, you
nod and say, “Oh, good, I was so busy beore the show are a little off rom what I was trying to make you
I was not sure I placed that inside.”  think o, but I have one more person to try to fix it
I continue with, “Is there anyone good with num- with. I knew you were going to be more difficult, but
bers? Please make your way to the stage.”  that is a good thing and now it becomes more o a
A person is selected. Let’s say his name is Joe, and challenge or me.” 
Joe makes his way to the stage I pick up a marker (I at any point they go off script, have a hard time
board and a marker. I draw three lines on the board, ocusing on a number). I point out that I did say they
hand the maker board and marker to Joe and tell would be more difficult to work with. Ofen I get
Joe, “In a minute we are going to get three two digit people only giving a one-digit number at this point
numbers rom three people in the audience, you will despite the act I am asking or a two-digit number.
write them one at a time on each line below each other I turn to the third person standing that is in the
nice and large so the audience can see them. I will tell audience to my right. I ask them i we have ever met
 you what we are going to do with those numbers when or spoken beore. Ten I ask them to look at my lef
we are done. Again, nice and large.”  hand as I hold it up and my right hand goes to my
As I do this, I am placing my hands in my pock- right pocket.
ets, at times I gesture with one hand, at other times I “Please stare at my palm, keep staring, get a two
gesture with the other hand. digit number in your head but don’t say anything....
o the first person on my lef I hold out my right do you have one?” 
hand, I ask them i we have ever spoke or met beore Tey state that they do, and I stare at my palm
and them I ask them to, “Stare at my right hand, keep then back at them and ask, “Please subtract two rom
staring... Okay get a two-digit number in your head.  your number... Okay call it out or Joe.” 
Do you have one?”  (I have them subtract two rather than add in case
Tey state they do. their number was 99 or 98. It would not be good

17
 or me to ask or a two digit number and then orce  etched a piece o paper and began to write something
them into a three digit number.) and olded it up. Well I kept it in my suitcase and
Tey call out their number.  placed it in this wallet just beore the show and it has
“Perect, that is perect.”  been here since that time. Now remember she is only
I turn to Joe, both hands go into my pockets as I  our and is just learning to write so I am not sure how
ask Joe to total the numbers. As he starts to I talk. neat she wrote it.” 
“Now Joe, I know I am putting you on the spot, ask- I remove the olded paper rom the wallet, and
ing you to total numbers in ront o all o these people,  very openly hand it to someone in the ront row
 plus the act I am speaking is probably making you whom I also have asked to stand. I ask them to open
nervous so I will shut up.”  it and read what number she wrote. It matches Joe’s
It is during this moment that I move in close total.
to Joe, using Joe and the act my writing pocket is Joe is dismissed and the person in the audience
upstage to write in my pocket. keeps the paper.
As I speak, once I see what Joe has totaled I I can’t tell you how strong this plays to a large the-
Pocket-Write it on the tablet in my pocket. I do not ater audience. You will hear gasps and people emit-
remove the card or paper just yet. I do call out Joe’s ting statements like, “No reaking way,”  or “How?” 
total once he is done. Because I am dyslexic I do not And yes, people will not credit your granddaugh-
trust my own totaling, so I let Joe do it or me. But I ter. As the show progresses they realize it is all you
also cannot ully trust Joe since he is in a very nerve doing these amazing things. Your our year old is
racking situation. So I ask Joe to show his addition quickly orgotten. And beore you point it out, yes
to the audience because, I know that the total in the graphic is incorrect, but
“Joe, although I asked the audience members who now you know what to do i that happens don’t you.
 gave us the numbers i we had ever met beore and
they said no, I could ask you, you could just pretend
to add the numbers up and pretend to give a total that
I wanted you to give. So show it to them and double
check your addition while you do so, point the board
towards the audience so they can see it please.” 
By doing this, you can be sure that i Joe totaled
the number wrong either he or someone else will
point the error out or me at some point.
I recap that we had three people stand and give us
three completely reely selected numbers. Tat Joe
27
has totaled them and his total is 102 or whatever it

32
is. At that point Joe has had time to check his total. I
he made a mistake I will have time to write the new
total below the first. Tis way I have not only pre-
dicted the wrong total that Joe gave, but he correct

4 3 
total as well. Tis will rarely i ever happen.
I no one says anything I can turn to Joe and state,
“So no mistakes and your total is 102!” 
It is at this moment I remove the paper rom

104
the tablet and old it, and secretly remove rom my
pocket. As I do so I place the wallet on my palm
directly over the hidden prediction and say,  “I am
ofen asked i anyone in my amily can do these things,
well until recently I would have told you no, however
my granddaughter, who is just starting to read and
write, has shown some promise. When I told her I
was coming to New York, she ran into my office and

18
 completely different. Let me show, you step into my
office.” 
I point at my stand. I had gathered the first per-
son or two. Tey were intrigued but I needed more
people.
“You see, earlier I was doodling, not looking at
what I was writing, then I saw you coming down the
aisle. You may have seen me old a business card and
 place it inside. Beore we get to that card, I am going
to ask you a ew personal questions but nothing too
 personal, what was the first pet you ever had.” 
While doing this, I would look or anyone else
 THE TRADE SHOW who I could make eye contact with as they passed
by. Once I did this I quickly asked that new person,
INCAPACITATOR “Hi, would you mind helping this person please? It
will only take a ew seconds.” 
Since I was asking them to help someone else
Wikipedia describes Attention as, “Te behav-
they would comply. I I would have asked them to
ioral and cognitive process o selectively concentrat-
help me, they would have seen me as a salesperson
ing on one aspect o the environment while ignoring
and reused, but they almost always complied when
other things. Attention has also been reerred to as
I asked them to help a ellow attendee.
the allocation o processing resources”.
As they walked over I would tell them that, “Inside
A good trade show perormer is able to get
that wallet is his uture, but it is your uture as well.” 
attendees to do just that. Allocate their attention to
I always made sure they were willing to partici-
the product or item he or she wants them to place
pate beore I spoke those words though.
their attention upon. Tat usually starts out with the
Now I was set. Te act I had a crowd o three
booth or stand the perormer is standing behind.
or our or more people allowed me to draw in an
Getting people into that space is the hardest thing
even larger crowd, especially in the end when these
or any trade show presenter. Using a wallet and
people saw that I had predicted their birthday and
pocket writing will allow you to gather the first ew
a short word. But once again, I get ahead o mysel.
people.
Tis second person was asked to provide a piece
I was very, very successul on the trade show
o inormation like, “Call out any small word seven
floor. During slow times I could still draw a crowd.
letters or less.” 
I would walk into the aisle with my little wallet and
One other tip, once they called out a word I
stop approach someone.
always asked i they had another word prior to that
“Hi, is this yours? No! Actually it is, it’s your imme-
one. Ofen they did. I the word was better than the
diate uture... please hold out your hand palm up.” 
final word, I elt ree to go with it. “Sugar” is better
Since I was so abrupt, they did not even think
than “Love” in just such a situation. A simple, “So
about it, they simply held their hand open. Plus the
 your first instinct was to go with sugar. Let’s go with
act I had the wallet out as i to give it to them made
that, it is much more interesting than the word love
them even more willing to comply. I immediately
and you will see why in a second,” worked.
placed the wallet in their open hand. Now they were
Sometimes i they gave two words I would write
stuck, they could not go anywhere.
both words. Sometimes I simply pointed out that
“Don’t open it. Keep your hand palm out. Do you
they almost went with one word but change their
know what this is?” 
mind and settled upon whatever the word it was
Tey may make some guesses but no matter what
they settled upon. All gave me time to write in my
I told them...
pocket behind the trade show stand.
“It is your uture, there is no money inside but it is
I never orgot to involve the person holding the
 your immediate uture and soon it will be something
wallet, I always ended by getting some inormation
rom them i I had not already done so, something

19
 like their birthday. I may throw in something about
the product the booth was selling and the act it CELL PHONE
would provide months or even years o service, then
I would say, “Speaking o months, what month were
 you born in, ah the ourth month, what date in that
RING SAVER
month.”  I wrote this inormation as I pointed out that How many shows does the dreaded spectators
the strangers did not even know that date. I I had cell phone go off during a crucial part o an effect?
gotten their birthday prior to other people coming We tend to get upset at the spectator. Heck, we asked
up, and wrote it already, I would pick up the wallet at the beginning o the show that all cell phones be
and place it on the hidden paper and I would state, turned either off or on vibrate yet this inconsider-
“By the way, tell all these people what your birthday ate person who does not seem to realize they are
is.” Tis way it would seem that this was the first time already occupied, lef their phone on, how selfish.
they had revealed it and the wallet was already into I have seen comedians berate a spectator because o
play. this. I on the other hand love it when this happens.
It is in just such a situation that a wallet is the per- It allows me to produce a miracle.
ect tool or drawing people in. I people think they Look, we cannot assume this spectator was a
are going to get something or ree. Tey will indeed selfish human being. Okay, more than likely they
step up to your booth. are, but we cannot assume that. I have lef my own
Oh, and as or the prediction turning into some- cell phone on, sitting on my table on stage. At that
thing different, well  “A minute ago I told you that moment, I could not ignore it. I picked up my phone,
inside here was your uture, it is now your past. Open answered it. It was the wie. I told everyone and had
up the paper and read what is inside it.”  them say hi to my wie. What they could not hear
It is or this reason it was important to always have was her telling me off or embarrassing her like that.
some Pocket-Written inormation rom that first Really... no one there knew her or could see her, but
person. So HEIR uture had changed and become you know wives. Since it happened at the beginning
the past as I had oretold when I first met them. o my show, I was able to use it as a reminder or
I would then head into a book-test or spoon everyone to turn their cell phones off. As i I had
bending. Something visual that could perormed planned it that way.
above their heads so passerby would wonder what My point is, i I can do it to mysel, I can’t assume
was going on and step up to the booth, to the point that another person is doing it on purpose. Peo-
I would have to ask everyone to step up closer and ple are human and do orget things during conver-
out o the aisles. sations and such. So how do I handle it when this
Te technique o asking people to help other peo- happens?
ple in a trade show situation is a valuable one and Well I will ofen have my Pocket-Writer appara-
can be used with many types o effects, a book test tus just sitting in my pocket waiting in case a mis-
or example. While doing a book-test, you can draw take happens so I can use it or an out or just this
in a ew people to help each other. Placing books perect moment.
into a ew people’s hands stops them rom being able A phone rings during my show...
to go anywhere. Handing a prediction to someone “Whose phone is that? No don’t be embarrassed it
at the beginning o your perormance does the exact is okay, in act it is perect...really.
same thing. But once again I digress. Tis is not a “Have we ever met beore? Is there any way I could
book on working trade shows. have known you were going to get a call right now? In
 act, you did not even know you were going to get a
call, did you? 
“All I need to know is who called you? 
“Oh, one more thing...what time is it? So they called
 you about a minute ago now.
“Beore the show began, I had a premonition that
despite telling everyone to turn their cell phones off,
someone would orget. I wrote something down and

20
 placed it in my shirt pocket just in case. Now it is not Te music starts. Afer an appropriate amount o
neat because I was driving when I wrote it. Have you time the music stops. At this time they all take seats.
ever tried to write and drive, you look at it later and Now two things will happen. Either they will all have
say, what the heck was that, but I think you can make different seats or two people will have different seats
it out.”  and one person will be by the same chair they had
I hand it to a person in the ront row and it has earlier. I this happens you can make a big thing out
the name o the person who called and the exact o it and tell him he can take the seat o either o the
time it happened. Tis is so organic looking that it two people. He does so.
brings down the house. I have saved a bad moment Next you hand each person a piece o cardboard.
and made it starring moment in my show. On top o You ask the first person to write single-digit num-
that I can now remind the audience to turn their cell ber on the board and show it to the audience. You
phones off as, “I do not have any other premonitions ask the second person to do the same, and finally the
in my pocket.”  third. Now you ask them to switch cards. Tey have
I have also used this when there is a rude person created a three-digit number.
in the audience who is on their cell during the show. Now you point out the mason jar with a bulldog
It happens, especially at colleges. Kids these days clip hanging inside. You bring up the spectator who
 just do not have manners. I will ask them who they has been keeping the jar sae, they open the jar. Now
are talking to, ask them to ask that person or any they are lef holding the lid and the Jar so you kindly
word. I will ask them or the word, tell them to tell and remove the paper rom the clip and exchange it
the person they will call them back afer the show or the jar and lid, which you seal and put back on
because they are sitting in a room ull o people try- the table.
ing to watch a show. I then reveal the word in my You point out that the three people could sit in
pocket. Tey are slightly embarrassed yet impressed any seat they wanted to, in any order they wanted to.
at the same time and it prevents anyone else rom You have the person holding the slip to open it hid-
interrupting my show with rudeness. ing the writing on it rom the audience rom now.
Point out it is written upon on both sides.

CHAIR You ask them to turn to the side written in red.

You point out the order o the people, white shirt,

PREDICTION
lady, black shirt.
Te man is asked to read off what is written in red
but to keep the back o the paper rom the audience
You point out a mason jar that has a bulldog clip or now. He reads:
sealed inside and hanging reely. Tey can see a slip
o paper hanging rom its jaws. You mention that  “Te man with white shirt will be seated in the first chair.
 jar will become very important in a little while. You “Te lady will have decided to take the middle seat.
can even hand the jar to someone in the audience ‘Te man in the black shirt will be in the third and last chair.” 
or saekeeping i you like. Next you point out three
chairs, numbered one two and three. “Ah, but it is better than that. Tey each got to
Tree people are brought up on stage, a lady, a choose any number. Ten all three o them decided
man in a white shirt and a man in a black shirt. Tey what three-digit number to create with those num-
are brought up one at a time and take a seat in any bers. I had nothing to do with it at all. Tey could
chair. have chosen any numbers at all and rearrange them
“In a second I am going to ask you to walk around in any way they wanted. Tey decided to create the
the chairs. During that time I will be playing some number three hundred and fifeen, please turn the
music. I want you all to walk around the chairs in  paper over and read off the number on the other side.” 
a clockwise ashion. Te moment the music stops, I He reads, “315”.
want you to take a seat in any chair other than the Tis is a very strong effect and plays huge.
one you are sitting in. In other words, when the music
stops, you cannot be seated in the seat you are in now.
Please stand.” 

21
How Below is a stream-lined version using Pock-
et-Writing to clean up the effect in the end.
Te perormer hands a spectator a business card.
Seat the lady in the first chair, the man in black in He asks them to write the name o someone they
the second chair and finally the man in white in the know personally, someone the perormer could not
third chair. When they rearrange themselves so they know and to initial it. Tey are to old it in hal when
are not seated in the same chairs, there are only two done.
ways they can end up: Te perormer takes the card and hands it to
someone else or saekeeping. Te perormer then
1) Man in black, Man in white, Lady  takes out another business card, he writes some-
2) Man in white, Lady, Man in black  thing, initials it and hands it to someone else.
Perormer takes back the first piece o paper and
So you need two predictions in your pocket. opens it and reads off what is upon it and the person’s
Write those predictions in red. Place both predic- initials. He closes it, turns to the spectator holding
tions in your business card tablet (see mine) each his piece o paper and has him read off what is writ-
on opposite sides so the predictions are against the ten upon it. It matches. Both papers are handed out
cardboard with the blank side out. Now make sure to the audience.
the prediction that says man in white will be in the
first chair is acing out towards the outside o your
pants. Keep the Man in black to the inside so you
How
remember man in black is in the dark area against
When the perormer takes back the first specta-
your leg and man in white is acing the light.
tors card, he switches it or his own blank piece o
You will also need a black piece o crayon in your
business card or a card with just any name written
pocket to Pocket-Write the number.
upon it. He palms the spectator’s card and pretends
Hand them a marker and poster board. You will
to remove it rom his pocket, opens it and pretends
have plenty o time to turn the tablet over in your
to write something upon it, but actually reading the
pocket i needed. Now all you have to do is have
spectators name. Tis card he hands to a completely
them create a three-digit number and pocket write.
separate spectator.
As you recap, you have plenty o time to write this
Reaching or the first card the perormer opens
number on the correct card in your pocket, remove
it and pretends to read off the spectator’s name (a
and palm so you can switch it in the clip hanging
small subtlety here is to open, then turn the card
rom the Ostin Clip in the Mason jar.
around, as i it is upside down). He then turns to
the spectator he handed the other card to, they open
ALL IN A NAME it and read off the name and initials thinking it is
the one written by the perormer. In actuality it is
the one written by the first spectator. During this the
Te first version o this was published March perormer has all the time in the world to write the
1939 in Anneman’s Te Jinx , issue 54, page 383, by same name and the same initials on the card in his
Orville Meyer. In 1944, Teodore Anneman again pocket, remove it and switch it or the blank one.
published the routine by Orville Meyer in Practical o clean up, all the perormer has to do is switch
 Metal Effects. I have seen it written that this is a vari- the card in the pocket or the one in his hand, dump
ation o Anneman’s Dead Man Divination but can’t the dummy in his pocket, now he retrieves the spec-
seem to find the effect. Another version was pub- tator’s billet. Both billets now have the same name
lished in Lewis Ganson’s Magic O the Mind , page 5 and these can be given to the first spectator to keep.
as “Te 100% prediction” by Punx. Still later in 1990, As with the original effects, one can use more
Punx published his version in  Fourth Dimensional than just a name and initials. Feel ree to have a city
 Mysteries, page 84 titled “Te Punx Prediction”. In and a number or wherever you want written down.
1951, Bob Somereld had a version his book   Mind
Readers Digest, page 9, titled “Treediction”.

22
 “YOU, i that is your real name, call out aloud the
name o any playing card in a deck o fify two cards...
the Seven o Hearts; please do not orget that card.
“It was ate that led me to that very moment that
this story begins.
“I was at a garage sale. I was passing the many
tables o wonderul antique and some so not antique
 junk.
“It was at the end o the longest ornate table that I
noticed the blond hair and the pair o wide blue eyes
 gazing inquisitively above the remnants o a battered
old ‘Nike’ shoe box.
“My gaze ollowed these eyes and revealed the won-
ders that held their attention...
“A worn, used, shark’s tooth, no longer white but a
lieless gray. A green smiling dinosaur, only three eet
lef protruding rom its scratched and dented plas-
tic torso. A red yo-yo, no string, and...AND HESE
PLAYING CARDS!” 
Perormer removes a deck o cards rom his
pocket.
“I closed the distance between me and those eyes
and saw that they belonged to a young angelic ea-
tured boy, no older than our or five.
“His line o vision finally lef the contents o the box
and shifed to my unshaven ace.

GARAGE TALK ‘How much or the cards’? I asked.

“I immediately saw a piercing, pleading sadness
in those eyes that revealed to me that these treasures
Tis is my version o a Leslie Anderson classic belonged to this young man, whose parents had orced
Te Children’s Yard Sale, which is based upon a Gene him to sell some o his most prized possessions to teach
Grant idea called “Te vision o the Future” in his him not to become too attached to the material world.
Phantini’s Incredible Mental Secrets.  Te method is Tey had probably even watched as he meticulously
the same as Gene Grant’s and Leslie’s, and the story  put the price on each and every one o the artiacts.
was influenced by Leslie’s buying the cards at a chil- ‘How much or the cards?’ I queried or the second
dren’s yard sale. I added one o Harry Anderson’s time, knowing that the price marked is not always the
lines,  “You, i that is your real name,”   but the rest  price asked! 
o the story is all mine. Te method o locating the “Still no reply, ‘Maybe he’s a mute,’ I thought.
card is the same as Anderson’s I just rearrange them “I reached or the cards, but, as quickly as a chame-
a bit to make it easier to figure it out as my math is leon’s tongue snatches a fly off a plant, he snatched the
terrible. cards rom my clenched hand.
“A deck o playing cards! It is not coincidence that ‘I WAN O BUY HEM!’ I said in a loud voice
causes there to be our suits in a deck, and fify-two as I removed the change rom my pocket to pay the
cards in a deck whose values add up to three hundred twenty-six cents marked on the box.” 
and sixty-five... same as our seasons, fify-two weeks Perormer shows the audience the “26c” marked
in a year and three hundred and sixty-five days in a on the box in large black letters upon a name tag
 year. size sticker stuck on the back o the deck o cards.
“Not coincidence, NO, it is ate. And so it is ate He continues...
that will play a part in this first experiment.... “Still no reply. ‘Must indeed be a mute’ I thought.

23
 “But I realized he wasn’t as he let out a tremendous
howl. You see, I had kicked him in the shin, grabbed
the cards and quickly made my way out to the ront
o the driveway. I handed the old lady there the twen-
ty-six cents as I inormed her that her grandson had
stubbed his toe. I hopped into my car and sped off.
“Here, catch.” 
Te perormer throws out the cards to the person
who earlier named a card. And asks them to come
up on stage.
“See the twenty-six cents on the box. Please remove
the cards careully and hold them ace down.
“Is it possible that these cards that the angelic snot
nosed brat had possibly laid out in a row and gathered
up thousands o times could have a link with which to
cause a coincidence o ate? 
“Please deal the cards ace down one at a time and
hand me the twenty-sixth card. wenty-Six being the
number chosen at random by the child as the price to
reluctantly  (wink) sell the cards.
“Remember you named the seven o hearts beore
I told this tale.” 
Te perormer shows the card the audience, it
matches.
“Definitely a demonstration o orced ate!” 
Te perormer scales the named card into the
audience.
“And so I leave you with a deck o fify-one cards
to remind you that when things sometimes go wrong,
there is usually a reason; in this case, it’s because you
are not playing with a ull deck!” 

How Te above set up is easy to find cards. You know

that Clubs you add ten and subtract one rom its
 value. Diamonds you add twenty and subtract one,
A preset deck so you know the numerical posi-
Hearts you add thirty and subtract one and finally
tion o any card in the deck. You could use a system,
Diamonds you add orty and subtract one rom its
a cue sheet, mnemonics or the system below.
 value. Te first nine cards are the picture cards o the
Instead o a nail -writer as used in the original
H, S and D. Te last three cards o the deck are the
 version. You use a child’s crayon to write the correct
picture cards o the clubs.
price on the deck o cards prior to bringing it out o
Since no one sees the aces, since it does not mat-
your pocket.
ter i it is a shuffled deck, since the child could have
put them in some sort o order. Te act the cards are
in some sort o order does not really matter.
For a mnemonic o the order o the suits think:
He Sold a Deck o Cards. Hearts, Spades, Diamonds
Clubs.

24
ROOM SERVICE  or that. Now you have never been to my hotel room
have you?” 
Te spectator is asked to come up on stage and
Pocket-Writing lends itsel to this effect. as she does so the perormer openly reaches into
As in the original Jonathon Neal Brown’s trick his inside jacket pocket and removes an envelope.
Room Service, have the person step into the elevator He then removes the key, places it upon the enve-
and hit a button rom one to nine. lope and asks the spectator to reveal to everyone else
“You said nine, so nine it is, you hear the eleva- what the room number is. It matches.
tor music, finally the elevator stops. You step out on
the ninth floor. o your right are the numbers one to
 orty-nine, to your lef are the numbers fify to nine-
How
ty-nine. Which way do you go, to your right to the
Well, back in February o 1997 I posted an effect
lower numbers or to your right to the higher? 
to the Magic Grimoire called “Electronic Room Ser-
“Fantastic, so you go to your right.
 vice”. At the time I used double writing. As time went
“Tose are rooms fify, to ninety-nine... Imagine
by, when in a pinch, I used pocket writing instead.
 you walk up to a room, you look up and see the room
Here is that post and it explains the details. Just
number, it is 9 hundred and ..... Keep in mind you have
adapt double writing to writing on the small enve-
selected to choose a number rom fify to ninety-nine.” 
lope in your pocket and it is even easier and cleaner.
Let’s say they say, orty-nine.
“So you chose to go to the ninth floor and walk and
*Note: Shortly afer this post a version much like
enter room nine hundred and orty-nine. Now just as
it appeared in Lee Earle’s “Syzygy”.
when I checked into my hotel, you would need a key

Date: 21 Feb 97 23:42:21 EST

From: BANACHEK <76242.1320@CompuServe.COM>
Subject: Electronic room service

For the last two years I have been performing some version of Koran’s Medallion
in my stage show. I have a back up coin in my case just in case anything happens to
the rst. Well, somehow, both coins were left at home while I was putting my show
together. I was doing that yearly (if I am lucky) cleaning everything out of my case.

I arrived in Florida to showcase for some colleges via their Junior Student Govern-
ment Seminar. Then I hit upon a novel impromptu idea. I had been working on a rou-
tine for Room Service to take the place of my Medallion routine for certain venues.
At the desk they handed me the usual electronic (magnetic) key, with the little enve-
lope with the room number written upon the envelope. I asked for an extra key with
an envelope and told her not to write the number upon it (most are ahead of me now).
Since most of the routine is build up, the presentation was easy. I simply had the enve -
lope upon the pad, double-wrote the room number upon the envelope and pad. Now
I palmed the small envelope and performed the empty hand card to pocket. This is a
fairly new sleight, and very clean. It enables you to hold your jacket open and reach in
with an empty hand and remove the card (in this case an envelope) from your pocket.

25
I do not know who invented this as it was shown to me by a magician friend who had
it shown to him by someone else and it seems there are different versions from Gary
Kurtz to a host of others, including Dai Vernon’s Inner Card Trilogy  Page 28, part 3. And
he got it from Teddy Victor.

Anyway, the basic slight goes as follows. If you are right handed you will palm the
envelope in the right hand. This hand, with the envelope, goes to your right lapel and
holds the lapel open, away from your chest. In actuality the ngers go behind the lapel
and thumb in front. While doing this you will nd it easy to let the envelope come to
the ngers and out from the palm against the inside lining of the coat. In other words
the envelope is held against the inside of the jacket by the ngers on the inside and
the thumb on the outside. Now with a non-obvious ( a subtle, no ‘look see’ my hands
are empty!) gesture such as pointing to your inside pocket as you say, “In my pocket!”
your left hand is shown empty. Then it goes inside the jacket, taking the envelope by
the left thumb and index nger, and pretends to remove it from the inside pocket.
Keep the number side (number should be written small in the top left hand side below
the ap) away from the view of the audience. Remove and show the key to the audi-
ence as you patter, then lay the key on top of the envelope so it is horizontal and the
envelope is vertical and point at the key, actually pointing at the number on the enve-
lope as you ask the spectator on stage to “read off the room number!”

Anyone who has stayed at a hotel will realize that the number on the envelope is the
one to the room, especially since the number says RM# before the number. The mem-
bers of the audience do not realize the number is not written on the key.

Now I only wish I had one of those keys that works with the light (the kind with the
holes) with me. I could have written directly on the key with an erase wipe marker
and done away with the envelope–in fact this type of key is even smaller. I have one
around here somewhere and will let you know what transpires.

(I have since used the plastic keys with the holes and simply lled in the number with a
china band writer).

 All rights reserved by Banachek 2002 (in case I want to add it to a book later).

26
 THE PHOTOGRAPH As you work with Pocket-Writing you will come
across times you will want the prediction in ull view
prior to getting the inormation rom the spectator.
Perormer hands a picture o a man to an audi- Logically this is impossible, unless you are making a
ence member. switch. Many methods have been around and I will
“Tat is a picture o my brother. It’s a blown up mention a ew in bit. But or now, here is an exam-
copy. I want you to look at it. You have never met my ple routine that first appeared in Al Baker’s Mental
brother have you?”   Magic published November, 1949, page 50 under the
Tey o course answer in the negative. You then title, “Chicken Feed”.
ask them to look the picture over, look at the back i

AL BAKER S
they want. Ask them i there is anything there that
gives your brother’s name away. ’
Tey will answer no.
“Now I need you to use your imagination. Hold
the picture up to your ear and imagine my brother is
CHICKEN FEED
whispering to you his name. Some time ago an effect was produced, I do
“What is the name?  not know who originated it, in which the mental-
“Now imagine he tells you the date that picture was ist divines the exact amount o loose change that a
taken, what month and what date in that month?”  spectator has in his pocket. He writes the amount on
Tey again respond with a name and a date. a slip o paper and when the money is brought out
“Te original o that picture is in my wallet.”  and counted, its sum corresponds exactly with the
Perormer removes his wallet. He opens the zip- amount written by the mentalist.
pered compartment and removes a picture. Very My method or producing this intriguing effect
openly he hands that wallet size picture to the spec- will be ound to be simple, straight orward and
tator. He asks them to turn it over and written on the convincing.
back is the exact name and date the spectator imag-
ined the man in the picture whispered to him.
Needed
How wo small slips o paper.
An office spike file.
Pocket writing and a card to wallet style wallet. A stub o black crayon.
I preer a La-Paul style wallet. But even the Stealth A piece o cardboard about 4 by 3 inches.
Assassin wallet mentioned earlier will work fine. You A trombone paper clip.
will need to write on the back o the picture in your
pocket, use a crayon or this as it will write better or
you on a glossy stock picture. A gray one would look
more worn and older. Preparation
Have the paper clip sewn in
your right hand trousers pocket
near the top. Slip the cardboard
into it. Tis is to orm a rest on
which you can write with your
hand in your pocket (Fig.1).
Fold one o the paper slips
in hal and in halves again.
Trust it onto the spike file, then
remove it and open it out again.
Te holes are necessary since

27
you are going to switch this slip or another which such a way that its corner overlaps the corner o the
will be spiked on the file. Place the open slip and the finger palmed slip in readiness or the Baker Switch.
crayon stub in your right trousers pocket. Have the urn to a spectator on your lef and as you say to
file on your table. You are ready. him, “Will you open this paper and read out what I
have written?”  Make the Baker Switch in placing the
olded paper in your lef hand and give him the slip
Procedure on which you have just secretly written, 79c, leaving
the paper just removed rom the file in your right
Casually ask a spectator i he hand, finger palmed.
has some chicken eed in his pock- Tis person opens the paper and reads, “Seven-
ets (*AUTHORS NOTE: Al Baker ty-nine cents.” 
is using the slang term “Chicken Te reason or spiking the paper on which you
Feed” or money). Ten ask him i do the secret writing will now be obvious. Tere is
he knows the exact amount. Natu- also a very good reason or using a black crayon with
rally he doesn’t know. rather blunt point and making bold figures (Fig 3).
“Well,”   you say,  “I you don’t As soon as the paper is opened out and shown it can
know then nobody else can possi- be seen by practically everyone and this enhances
bly know. Suppose I try to guess just the effect greatly. oo ofen in tricks such as this one
how much loose change you have the writing is done in aint lead pencil. I have seen
there.”  the effect ruined because the person who opened the
ake the stub o the black crayon paper could hardly read the writing himsel, much
rom your right trousers pocket less anyone else.
and with it write some figures on
the other slip o paper, openly but
don’t let anyone see what you have  THE AL BAKER SWITCH
written. Fold the paper in hal and
in halves again and thrust it onto For ull disclosure, I have included the Al Baker
the spike file (Fig 2). Put the crayon switch that appeared on page 2 o the same book.
stub in your trousers pocket again.
“Now,”   you say to the spec- WRITTEN IN BAKER’S WORDS:
tator, “Will you take out your First you must have a clear understanding o what
chicken eed, count it and let us you must appear to do, namely to transer a olded
all know exactly how much you bill rom one hand to the other. o do this old a
have?”  dollar bill in halves lengthwise and again in halves
As he announces the total the same way, then once the opposite way (Figs 2,
sum, let us say seventy-nine 3, 4, 5). ake it at the tips o the thumbs and orefin-
cents you place both hands in your trousers pockets ger o your right hand (Fig 5). Move your right hand
casually. towards your lef hand, turning it over in the action
“Well now,”  you say, “I I wrote seventy-our cents, and thus reversing the bill. Grasp the ree end o the
that would have been a pretty good guess, wouldn’t bill between the lef thumb and orefinger (Fig 8).
it?” As you say this, keeping your whole attention on Repeat this simple move over and over and study
the spectator, draw the slip o paper up against the the action careully or this is what you must appear
cardboard in your pocket, write “79c” boldly on it, to do when the switch is actually made. When you
old it in hal upwards and then in halves again side- understand the action thoroughly, practice the ol-
wise, then finger palm the olded slip. lowing moves until they do simulate exactly the pas-
As you continue to speak to the spectator, “You sage o the bill rom one hand to the other.
couldn’t have made as close a guess yoursel, could
 you?” Place your lef hand on the base o he spike file
to steady it and with an upward movement o your
right hand, remove the paper slip rom it taking it in

28
 ake the two dollar bills and old each o them We will suppose that a spectator has olded a dol-
1
in the ollowing way - first in halves with the backs lar bill in the manner already described and that you
on the outside (Fig 2). Fold again in halves the same have a duplicate dollar bill finger palmed in your
way (Fig 3). Fold in halves the opposite way (Fig 4). right hand. Follow these moves:
Tis process will give you two little packets about 1 ake the bill rom the spectator with your lef
1
1/2 inches by 1 1/8 in size. hand, then put it in your right hand in the position
Place one o the olded bills, which we call B, and shown in Fig 6. Keeping the greater part o olded
2
which will represent your own bill to be switched or bill in ull view, hold it against your orehead or a
a borrowed bill, in the finger palm position in your moment or two. Drop your right hand to body level
right hand. as you say,  “I get a 3”   (or whatever
ake the second olded bill, which may be the first figure in the number
3
we will call A, and which will repre- o your palmed bill which you have
sent a borrowed bill, between the tips memorized).
o your lef thumb and index finger Again put the bill deliberately to
2
in such a way that its lower right cor- your orehead, pause or a moment,
ner overlaps the upper lef corner o B then drop your right hand again to a
(Figs 5+6). Hold both hands in ront point a little above and a ew inches
o your body, your arms hal bent, away rom your lef hand, and say,
hands about nine inches apart and the “Tere’s a 9 next”  (or whatever the sec-
lef hand a little higher than your right ond figure o the memorized bill num-
hand. ber may be). Say this with your whole
As i merely to place A in your right attention directed towards the specta-
4 hand, move your lef hand towards the tor and at the same time place the bill
right at the same time turning it back in your lef hand, really executing the
upwards, thus turning A over, end or switch.
end (Fig 6). As the hands meet again, Note particularly that the switch is
place A in the finger palm position in your lef hand, never made in moving the right hand rom the ore-
drop the tip o the right thumb on B, gripping it head directly to the lef hand. First you put the bill
against the tip o the right index finger (Fig 7), and deliberately to your orehead, then drop your hand,
draw the right hand away, the tips o its thumb and again put the bill to your orehead and again drop
fingers sliding over B (Fig 8). Hold this position, the your right hand. Pause a moment and then make the
tips o the right thumb and fingers at the top o B a switch as you engage the attention o the spectator
ew moments beore removing the right hand alto- by making a remark and gazing directly at him.
gether (Figs. 9+10), holding the spectators bill B in
plain sight.
I must repeat that the action must simulate the
actual placing o A in the right hand. Practice the
WATCH THIS 
moves in slow motion until they become amiliar, I have used the ace o a pocket-watch as a writ-
then, and only then, increase to a pace to that with ing surace. I told the audience that I have made a
which you would actually place the bill in your lef prediction. When I show it to the person on stage I
hand in ordinary circumstances. pointed out what is written with a crayon on the ace
and ask them to read off the time on the ace o the
watch. Everything seems air to them since I said,
 Timing “On the ace o the watch,”   and the act I said I had
“Made a prediction.”   o everyone else it appeared I
iming may defined as the seizing o a avorable had set that time on the watch.
moment o the execution o a sleight as, or example,
when the spectators are relaxed or have their atten-
tion directed elsewhere.

29
IN CASE OF MISTAKES  can clean up,”  or “My wie is having a baby!”  We have
a host o excuses, but what i you did not have to
have an excuse? What i you could do that one last
I carry a Pocket-Writer with me all the time in thing that is just as strong as anything else in your
case o mistakes. For example, let’s say you are prac- show and you have impressed them so much they
ticing a new classic orce. You are good at it but once want to hire you and you could leave them with your
in a while the person takes the wrong card, maybe business card with your inormation upon it and a
you do not even realize they took the wrong card. permanent, personal reminder o what you did or
So you start to reveal the card, you are wrong, you them. Well, with pocket writing you do.
ask what their card is. Tey tell you it is the Seven o

I M A PHD
Clubs. Oh dear, what do you do. Well instead o ail-
ing, you can turn it into a very impressive hit. ’
“Really, the Seven o Clubs! Wow, this is really
impressive... I knew... You’re not going to believe this... Years ago I was at a show. Afer the show, as usual,
In act even I am having a hard time. On the way a man came up to me and asked me to tell him some-
here I had a premonition that tonight I would get this thing, well he actually demanded:
wrong one time. Really I did. I wrote the name o the “ell me what I do or a living?” 
card down that I would get wrong, I placed it some- Now I could tell he was well dressed and success-
where in this pocket. Here it is... Open it up and read ul, a possible client. I could have made an excuse
it.”  and gone my way but I did not so...
It says: “7C”. You have taken a ail and turned it I looked at him as i surprised.  “What did you
into a huge hit. say?” 
“ell me what I do or a living?” 

 THE CHALLENGE “I thought you said that. You are not going to
believe this but on the way to the show tonight I had a
 premonition that someone would come up to me and
As mentalists, we always get challenged. How ask me just that question...Tis is very strange... What
ofen do you get people telling you to tell them what do you do or a living.” 
they are thinking? Or you ask them or a piece o “You tell me, you’re the mind-reader!” He
inormation and they say,  “You’re the mind-reader, demanded.
 you tell me.”  “rust me,” I said, “I this is what I think it is, you
I rarely get that last line, because I ask people or are not going to believe this.” 
inormation prior to telling them why I need it. But “I’m a gynecologist,” he uttered.
sometimes I will get it like when asking or a birth- Oh crap! I thought, how do you spell it and how
day or some personal inormation. In this situation I am I going to write that in my pocket?
tell them, “Please, just trust me, i you tell me, I think So I pocket wrote as I pretended to be surprised.
 you are going to be very, very impressed with what “Really, a gynecologist? You are not going to believe
is about to happen.” At this point they are intrigued this.” 
and because I said “trust me,” they give in. Tey tell I removed a ew things rom my shirt pocket
me the inormation. and finally ound the olded business card within. I
Afer a show, as mentalists, we always get peo- handed it to him. He opened it and the shock was all
ple coming up and challenging us to tell them over his ace.

GYN
some inormation we could not have known. Te What had I written?
 very nature o our shows whets their appetites or I had abbreviated it.
a personal experience. As mentalist we all have our Now that man turned out to have a lot o money,
excuses, “I’m too tired afer a show, that is why I saved he has hired me on a yearly basis or over 25 years
the predictions till the end o the show so I would not and still tells that story. He pays a lot o money. All
have to think,” or “I’m sorry, I have to get out o here because I had a olded business card and a broken
and get to my next gig or I am going to be late,”  or “I pencil in my pocket.
would love to, but they need me out o here so they

30
CLOSING BITS
AND PIECES
D
uring my lecture, afer the session on open book o matches, a torn cover rom a maga-
pocket writing I take a ew questions. zine, a post card, a business card will all work well.
Invariably, at approximately every One time I even used a credit card receipt, the car-
other lecture someone will speak up bon type, and wrote upon it with my fingernail.
and suggest using a nail/band/boon I could go into detail about all the uses o Pock-
writer in your pocket or pocket writing. No, no, no! et-Writing, rom predicting the pick three lotto to
Tis is missing the point. I you are going to use such the hal time score o a ootball game, but I am pretty
a device, use it outside o your pocket. But to use sure at this point you can figure out how very valu-
such a device in your pocket deeats the purpose. able this tool is. o me the most impressive is a sim-
You will have to get the device on, you will have to ple direct reveal o a predicted piece o inormation,
remove it prior to olding your paper. Both o these the clever ones will use pocket writing to add a layer
things take time, and i you even try to use such a to an effect or method their routine is already using.
device you will find you will have to let go o your
tablet, remove the device and locate the tablet to Enjoy 
old your card or paper, all over again. It makes no Banachek July 2014
sense at all. Again, Magician Tinking. You can not
improve upon a small pencil or crayon or writing
with in your pocket.
I mentioned in the beginning that in a pinch you
could pretty much find the things you need in any
situation to pocket write. All you need is a pencil
and something to write upon in your pocket. An

31