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A SECRET THAT ENABLES YOU TO GUESS AN OBJECT CHOSEN BY SOMEONE, WHILE

YOUR BACK IS TURNED!

8 TRICKS USING BOB HUMMER'S 1951 SECRET DISCOVERY.

DIRECT AND EASY TO DO.

WORKS WITH ALMOST ANY 3 SMALL OBJECTS.

INCLUDES “THE ULTIMATE OBJECT DIVINATION ACT” WHERE YOU GENUINELY DO NOT
KNOW WHERE AN OBJECT IS HIDDEN AND BY THE END, YOU KNOW EXACTLY WHERE
IT IS WITHOUT ASKING THE SPECTATOR ANY QUESTIONS.

Copyright 2023 by e-mentalism

All rights reserved under all applicable law, including the Berne Convention. No part of
this publication may be reproduced, distributed, or transmitted in any form or by any
means, including, photocopying, recording, or other electronic or mechanical methods,
without the prior written permission of the publisher, except in the case of brief
quotations embodied in critical reviews and certain other non-commercial uses
permitted by copyright law. For permission requests, email to write the publisher at the
address below.

e-Mentalism,

www.e-mentalism.com

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ATTENTION:

It is important to note that this booklet does not claim to be original, but rather it
compiles practical secret methods that have been successfully used over time to
create legendary performances. Our contribution lies in bringing together these
method for your convenience, assisting you in nding the approach that best ts
your speci c requirements.

Additionally, we have included a remarkable trick in the ebook titled "The

Ultimate Object Divination Act." We con dently assert that this trick represents
the most exceptional rendition of Bob Hummer’s 1951 secret principle.

As you progress through the chapters, you will witness a remarkable evolution in
the impossibility of the tricks.

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CONTENTS

Mathematical 3-Card Monte by Bob Hummer 5

Three Object Divination 7
Note Under Cup by Al Koran 8
Long Range Telepathy by Sam Schwartz 10
Long Range Living & Dead 11
Digital Dollars by Karl Fulves 12
Match Miracle by Jack Yates 13
Four Coins Divination 14
Ultimate Object Divination Act by Le Val & Prager 15
Ultimate Object Divination Act Additional Thoughts 17
Becoming Limitless 17

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The Secret Discovery That Started It All.

Mathematical 3-Card Monte by Bob Hummer
The spectator removes any three cards from the deck and places them in a face-
up row on the table. While the magician turns his back, the spectator turns all
three cards face-down in place. Then the spectator exchanges any two cards,
calling out their positions. If the spectator exchanged the card at the far left with
the card at the far right, he would call out, "One and Three." If he exchanged the
center card with the card at the right, he would call out, "Two and Three.”

He exchanges pairs of cards as often as he likes, calling out their positions as he

does so. At some point, he silently peeks at one card and silently exchanges the
other two cards. Then he exchanges pairs of cards as often as he likes, calling out
their positions as before.

The magician takes one card behind his back, then (if necessary) another, and
nally reveals the thought-of card. To the onlooker, it appears as if the magician
must accomplish the near-impossible task of mentally following all three cards as
they are exchanged. But because of the "slippery logic" employed by Hummer, the
trick is much easier to accomplish.

SECRET: When the 3 cards are placed in the face-up row at the start, mentally
note the card in the center. Say it's the Ace of Spades. Turn your back. Tell the
spectator to turn each card face-down in place.

You are going to use your right hand to keep track of the Ace of Spades. The
fore nger represents position 1, the middle nger position 2, and the ring nger
position 3. Since the Ace starts at the middle, that is, position 2, when your back
is turned, you place your right thumb against the right middle nger.

Say the spectator's rst move is to switch the cards at positions 1 and 2. This
means that the Ace has now shifted to position 1, so you move the thumb from
the middle nger to the fore nger.
Assume his next move is to switch the cards at positions 2 and 3. Here you do
nothing because the Ace wasn't involved in the switch.

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His next move might be to switch the cards at positions 1 and 3. Now you slide
the thumb to the ring nger, indicating that the Ace is now at position 3.

Continue in this way, shifting the thumb to the appropriate nger every time the
Ace is switched with another card.

At some point, the spectator is asked to mentally peek at one card, then silently
exchange the other two cards. You do not know which two cards were switched,
so your thumb remains on whatever nger it now rests on.

Then have him resume switching pairs of cards and calling out their positions. As
before, you shift the thumb to the appropriate nger each time the Ace is
involved in a switch. Of course, now you don't actually know if the Ace is involved
because the spectator's secret switch of two cards might have involved the Ace,
but the logic of the Hummer system is such that this fact need not concern you.
You act as if you know where the Ace is.

At the nish, when the spectator is satis ed the cards are so well mixed that even
he doesn't know where any card is, note which nger the thumb rests on.
Whatever nger, ask him for the card in that position. If the thumb rests on the
fore nger, ask him for the card in position 1. If the thumb rests on the middle
nger, ask him for the card in position 2. If the thumb rests on the ring nger, ask
him for the card in position 3.

This card is taken behind his back. Hummer is unclear on this point in the
instructions, but it is necessary for you to glimpse the face of this card. You can
glimpse the card while placing it in your jacket pocket. The card you ask for is
supposed to be the Ace. If it is, then the Ace is the chosen card. If it isn't, leave it
in your pocket.
In the case where the Ace isn't the chosen card, have him silently mix up the
remaining two cards, then hand you either one. Take it and place it in your
pocket. If it is the Ace, the chosen card is the one on the table. Congratulate the
spectator on having found his own card. If the card handed to you isn't the Ace, it
is the chosen card. Toss it out face-up, revealing it as the selected pasteboard.

The above is Hummer's basic system. Subsequently, magicians used three face-
down cards. If cards have been in use for any length of time, they will become
scratched or otherwise marked. When you look over the backs of the three cards
dealt out by the spectator, simply note a readily identi able mark on the back of
one card. This card becomes your key. Follow its progress as mentioned above
and use the same handling to arrive at the mentally chosen card.

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Three Object Divination

Over the years the original trick was simpli ed to do away with the system and in
its present form is known as the Three Object Divination.

To elevate the effect from a mere card trick to a mentalism effect, simply
substitute three playing cards for items. For example, a watch, a ring and a set of
keys or a cell phone. It works exactly the same, except you remember the
starting position of one of the objects versus a playing card. The rest of the
handling is the same.

The absolute simplest version is Al Koran’s Note Under Cup. As far as we are
aware, the rst marketed version of Hummer's secret using three coffee cups or
teacups was the Al Koran version marketed through Stanley in 1968.

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Note Under Cup by Al Koran

The three cups are turned mouth downwards on a table, and the performer
removes a pound note from his pocket. He crumples it into a ball and hands it to a
spectator, remarking that this is a wager. "I will bet you that pound," says the
performer, "that no matter which cup you hide it under, I will nd it the rst
time.”

The performer turns his back, instructing the spectator to put the note under any
one of the cups and to switch around the positions of the other two cups. When
this has been done, the performer turns around and picks up one cup, and
underneath it is the note!

SECRET: There are various mathematical variations on the basic effect of the
Note Under Cup. Take my advice and stick to the straightforward effect as
described above.

If you look at the bottom of a tea or coffee cup, you will notice some kind of aw or
blemish. It might be a scratch, a defect in the trademark, or a tiny chip. Whatever
it is, you can rest assured that every cup has some kind of distinguishing mark.

When the cups are turned upside down, x your eye on one of them and nd a
aw that you will easily recognize. Don't let your gaze wander over the other two
cups. There's as much chance of nding a aw on the rst cup you look at as on
the other two. Stick to the one cup and save any confusion. This cup, the one with
the mark that you will recognize again, is the 'key' cup. Remember the position of
the key as you turn your back.

Instruct the spectator to put the note under any cup he likes. Now, say the
following so that he knows exactly what you mean: "When you've put the note
under a cup, feel free to move the other two around as much as you like." Say it
clearly, and he will get the idea. Don't emphasize it too much, as you don't want to
create the impression that the order of the cups matters too much. Simply ensure
that you have conveyed your instruction clearly.

When the spectator has placed the note under a cup and moved the other two
cups to his satisfaction, turn around and immediately look for your key cup.

Now follow this carefully: If the key is in the same position as it was when you
turned your back, then the note is under it. If the key has been shifted, the note
cannot be under the key, nor can it be in the place where the key was originally.
So, it must be under the only other cup.

The whole thing is very simple, and perhaps simplicity will further dampen the
method. Let us assume that when you turned around, you found the key cup at

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the extreme left. Before you turned your back, it was in the middle. So, since it
has been moved, it cannot have the note under it. The center cup cannot have the
note under it either since that is the position where the key originally stood.
Since the cup with the note remains static, it must be the one on the extreme
right.

Never present this as a gigantic mystery. Just do it a couple of times and let it go.
Resist any temptation to go on and on. If you do, some smart person is going to
either keep the note in his hand or move the cup with the note under it just to see
you fail. The trick is a nice little piece of lightweight entertainment and is not
built for repetition and heavy drama.

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Long Range Telepathy by Sam Schwartz

"Long Range Telepathy" was published around 1964, but its actual invention can
be traced back to an unknown mentalist approximately 10 years prior to its
publication.

Shortly after Hummer's 3-Card Monte effect was released, magicians began
considering the idea of performing it over the telephone. This meant that, unlike
the original, you would not know the starting order of the cards, and you would
not have a key card to follow.

Sam Schwartz put together this version of Long Distance Monte. You don't know
the starting order of the cards nor the order at the nish, yet you are able to nd
the mentally selected card.

The spectator at his end of the line removes three cards from the deck and places
them in a row on the table. He places a coin on top of one card. Tell him to note
and remember the starting order of the cards. Then have him silently switch the
two cards that don't have the coin on them.

Now ask him to switch pairs of cards, calling out their positions to you. He does
this as long as he likes, then have him continue doing it until the cards are back
in their original order. You don't know the name of any card, of course, but you
tell him on which card the coin is.

SECRET: The trick is performed in the same manner as the original Hummer
trick, with the only difference being that you don't have a known card to start
with. However, the clever angle here is that you begin with the thumb on the
fore nger to indicate the card at position 1.

The spectator arranges three cards in a row, remembering the starting order and
placing a coin on one of the cards. Then, silently switching the other two cards,
the spectator proceeds to switch pairs of cards while calling out their positions to
you over the phone. If the card at position 1 is switched with the card at position
2, you move the thumb from the fore nger to the middle nger. If the card now at
position 2 is switched with the card at position 3, you move the thumb from the
middle nger to the ring nger.

You continue this process, following the phantom card as it moves around. At the
end, when the spectator claims the cards are back in their original order, take
note of the thumb's position. If it is on the fore nger, the coin is on the rst card
in the row. If the thumb is on the middle nger, the coin rests on the card at the
right end of the row. And if the thumb rests on the ring nger, the coin is on the
card in the middle.

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Long Range Living & Dead

The previous technique can be applied to objects other than cards. For example,
you can use three slips of paper, where the spectator writes a word on each slip,
such as the last name of someone who has passed away on one slip and the last
names of two current friends on the other two slips. The slips are then switched
around, and you can reveal which slip contains the name of deceased person.

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Digital Dollars by Karl Fulves

Call up a friend and offer to play a little game via phone. You agree that you will
each bet $10 on the outcome. Have him remove a ve-dollar bill, a ten-dollar bill,
and a twenty-dollar bill from his pocket. Tell him to place the three bills in a row
on the table. The bills can be in any order.

Have him exchange the $5 bill with the bill to the right of it. If there is no bill to
the right of the ver, he does nothing. In either case, he tells you nothing.

Then have him exchange the $20 bill with the bill to the left of it. If there is no bill
to the left of the twenty, he does nothing.

Finally, have him exchange the $10 bill with the bill to the right of it.
That's it. Remember, you are each betting $10 on the game. You now pick out one
of the bills for yourself. Obviously, if you pick the $5 bill, you are going to be out
ve bucks. If you pick the $10 for yourself, the game is a draw. The only way you
can win is if you end up with the $20 bill.

You do it this way. Tell him that you want the bill on the left for yourself. It will
always be the $20 bill.

That's the game. He starts with 3 bills in any order. Have him move them around
as described above. Tell him you want the bill on the left. It will always be the $20
bill.

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Match Miracle by Jack Yates

Four matches are placed on the table. The heads of three point one way, and the
head of the fourth match points the other way. The reversed match can be any
one of the four matches in the row.

While your back is turned, the spectator switches pairs of matches. Each switch
must involve the reversed match, but he can switch it with the match on either
side. He makes a total of 5 switches. With your back still turned, you instruct him
to get rid of matches one at a time. The only match left on the table is the
reversed match.+

Before turning your back, note whether the reversed match is at an odd position
or an even position in the row. If it starts in positions 1 or 3, it can only end at
positions 2 or 4. If it starts at positions 2 or 4, it can only end at positions 1 or 3.

Assume the reversed match starts at an odd position. Turn your back. Have the
spectator make ve switches, each time switching the reversed match with a
match next to it. When he has nished doing this, you know that the reversed
match is now in an even position. Instruct the spectator to remove the match at
position 1.

Then have him switch the reversed match with the match on either side. After he
has done this, the reversed match will always be in the center! Have him remove
the match on the left, then the one on the right. The reversed match will be the
one left on the table.

If the reversed match starts out at an even position, have him make the ve
switches. Then you know that the reversed match is at an odd position. Tell him
to remove the match at position 4. Then tell him to switch the reversed match
with either of the other two matches. The reversed match is now in the center.
Finish as above.

EDITORS UPDATE (2023): Replace the matches with pens. The trick remains
exactly the same.

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Four Coins Divination

You start with four coins on the table showing heads spectator chooses anyone
they like and turns it so it showing tails. You turn your back. The spectator
makes ve switches. Each switch must involve the tails coin, but he can switch it
with the coin on either side.

Before turning your back, you note whether the tails coin is in an odd position (1
or 3) or an even position (2 or 4) in the row. If it starts in an odd position, it can
only end up in an even position, and if it starts in an even position, it can only end
up in an odd position.

When you turn your back, the spectator makes the ve switches. After the
switches, you can determine the position of the tails coin. If it started in an odd
position, you know it is now in an even position. If it started in an even position,
you know it is now in an odd position.

Next, you instruct the spectator to remove the coin at position 1. Then, they
switch the tails coin with either of the two adjacent coins. The tails coin will
always end up in the center position.

To reveal the tails coin, the spectator removes the coin on the left and then the
one on the right. The only coin left on the table will be the tails coin.

So, by following these steps, you can determine and reveal the location of the tails
coin through a series of switches and removals, regardless of its initial position.

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Ultimate Object Divination Act by Le Val & Prager

Spectators freely select any envelope to hide an object inside. Once they have
nished mixing the envelopes around, you will always know EXACTLY which
envelope contains the object!

NO questions or weird instructions. Your spectators can remain silent

throughout. Every decision made by your spectator is a completely free choice.

At the beginning, you genuinely do not know where the object is hidden. By the
end, you know exactly where it is.

SECRET: We will teach you the main method using business cards and envelopes,
and once you understand it, we will give you ideas on how to use it with other
objects.

Start with the three envelopes, each with one business card inside. Place them in
a row on the table.

One of the envelopes must be subtly marked so you can identify it. Make a mental
note of its position. If it's in position number one, turn away and mark that on
your ngers as explained in Mathematical 3-Card Monte.

Now, your spectator chooses an envelope, takes the card out, signs it, and places
it back in. Ask them to swap the envelopes they didn't use and continue:

"Now, in a moment, I'm going to ask you to do that again. You're going to take any
envelopes that you want, two at a time, and swap them around. That's how we're
going to mix them up." Later on, in their memory, they will just remember having
the free choice to move any of the envelopes.

Turn back around. You don't need to look for the marking. Whatever is in the
position that you held from the beginning, that is what you're going to follow.

At this point, you don't know which envelope they've chosen, and you don't know
which envelopes they've just moved.

Instruct your spectator to mix two envelopes at a time while you track that
envelope with your ngers, so whatever position it ends up in, you're tracking it
with your ngers.

Once all of the mixing is done, look at what position you're at on your ngers.

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If you are at position number three, look down at position number three. If it's not
the marked envelope, it's empty. This will also mean that the marked envelope is
empty too. So the one that contains the spectator's item is in the last envelope.

If after the mixing, you look at the position of your ngers and it's at position
number two, if you look down and see that your marked envelope matches the
position on your ngers, then you know that it contains the spectator's signature.

We know that it can be quite dif cult to wrap your head around, but just try it a
few times, and after a few attempts, you'll see how simple this thing is.

We've made this more about us watching the spectator's decisions, and then we
supposedly are able to gure out which one contains the item based on the
decisions they make.

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Ultimate Object Divination Act Additional Thoughts

Bill inside envelope: Turn around, have them hide a bill in any envelope and
swap the other two.

After it's hidden, turn back and say, "I only get one guess, and if I get it wrong,
you can keep the money. If I get it right, the money goes right back into my
pocket.” Note that in this presentation, you don't tell them they can win the bill
until you're looking right at them after the bill has been hidden and the rst swap
has been made. Wait until the important things are done, and then turn back
around and tell them that if you get this wrong, they can keep the money. If you
tell them at the beginning that if you don't get it right, they can keep the money,
they might intentionally do something that's going to mess this up.

Look at your spectator, see the envelopes in your peripheral vision, and tell them,
"It's not the decisions they make, it's how you make them that's going to tell me
where the money is." And continue as explained on the previous page.

Sealed inside a cup: In this version of the classic "object hidden under cup trick,"
a spectator takes an object and conceals it within a Starbucks cup, placing the lid
back on top to ensure the object remains hidden. We believe that sealing the
object inside the cup, rather than merely covering it, is the best approach as it
eliminates potential complications and adds an extra layer of intrigue.

Initialed coin: This variation of the trick is particularly suitable for performing
on the go, as it is pocket-friendly. The spectator is asked to initial the face of one
out of three coins. All the coins are placed face-down, hiding the initials. Your
task is to locate the speci c coin with the initials.

Box of mints: A participant hides a personal object, such as a ring, inside one of
three mint boxes. Without physically touching the boxes or the hidden object, you
successfully identify the box that contains the concealed item.

Beer caps: The participant is requested to draw an "x" at the bottom of one out of
three beer caps. By now, if you have been following along in this book, you should
be familiar with the next steps to perform and reveal the chosen cap.

Becoming Limitless
Congratulations! You have attained two extraordinary superpowers: the ability
to accurately guess thought-of objects and the power to locate hidden objects
solely through the power of your mind. These incredible abilities will undoubtedly
empower you. Embrace your newfound powers and explore the endless
possibilities they offer.

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TRICKS THAT ARE A PLEASURE TO PERFORM

www.e-mentalism.com
We've all wanted the ability to read someone’s mind. At e-Mentalism you can
learn mentalism and mind reading magic tricks that will make ANYONE believe
you can actually do it! Established in 2010. We believe that mentalism is one of
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through our ebooks & video tutorials.

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