One of the two cards turns into the intended one. Effective trick and its solution

Free technical library

EFFECTIVE FOCUSES AND THEIR CLUES
Free library / Directory / Spectacular tricks and their clues

One of the two cards turns into the intended one. Focus Secret

Spectacular tricks and their clues

Directory / Spectacular tricks and their clues

Comments on the article

Focus Description:

How to turn one of the two cards on the table into the intended card.

Focus secret:

Fold the deck of cards so that between the fifteenth and sixteenth card from the bottom there is only one figure. You must remember which one it is, counting from the bottom.

Give a deck of cards to any of the spectators and ask them to choose one card. Before he can do that, you must remember to say, "You don't even have to touch the cards, just remember the card when I unfold the deck." After these words, fan out the cards one by one with the front side to the audience, starting from the bottom. Your viewer, of course, will be struck by the only figure that he notices. The probability that he will name this particular card is very high. After showing about 14 cards, you continue to do this and ask: "Did you manage to conceive a card?" After receiving a positive answer, you make a volt two cards below the piece, because you know its place in the deck. Make a fake shuffle without capturing three cards. Now this figure is the third from the bottom.

You address the audience: "I just take the two bottom cards and put them on the table." Holding the deck in your left hand, you turn one of the cards on the table to the spectator who has conceived the card and ask if it is his card. After that, lower the cards, pull out the moistened finger of the right hand and place the card shown face down on the table. But the second time you do not actually pull out the card that was just shown to the audience, but move it away and take the next one, that is, the figure that the spectator intended.

Now stand behind the table and ask your spectator, "Are you sure none of these cards are the one I should turn the cards into? So which should I turn, right or left?" You understand any response from the viewer the way you need it.

If your piece is on the right and the spectator chooses the right card, then you consider the spectator's answer to be an indication of your right hand. If the spectator answers from the left, then you consider the spectator's words as indicating his left hand, that is, the card should again be to your right.

You take another card, show it to the audience as if by accident, and put it back in the deck. Then say: "Now the transformation of the card will take place. Please tell everyone what card you have in mind." If the spectator calls the only figure that was at the bottom of the deck, then you should only turn over the card lying on the table.

If the spectator calls another card, for example, the king of diamonds, then in this case, not everything is lost. You say you want to first prove that this card is not in the deck. With these words, you approach the audience and at the same time hide the king of diamonds behind other cards. Taking the deck in your left hand, you turn it over, and the desired king is now at the top of the deck.

Holding a deck of cards in your left hand, you return to the table and take the card lying there, saying, "As you can see, this is the king of diamonds," without looking at him. Then you make a careless half-turn to the right or left - in order to mask the movement, and change the card according to the third method. After replacing cards, you try not to show them.

The audience, of course, will tell you that it was not the king of tambourines. You pretend to be surprised and ask what kind of card it was. They will call you, and you with the words "It can't be!" show the card that you hold in your hand, it turns out to be the king of diamonds. And you go on, "It couldn't be that card, because this gentleman has been sitting on it all evening." Approach the spectators, holding a figure hidden in the palm of your hand, and find it on the seat of some spectator, asking him to rise.

You can use the described method of replacing a card with one named by the audience if you fail in other tricks.

If you are given a card back before you turn the deck over, or if for some reason you cannot open the selected card at all, then we can advise the following.

Give the deck to shuffle and draw any card. Place it face down on the table and say boldly that this is the required card. Ask the spectator to name the intended card. Demonstrate to the audience that there is no such card in the deck and then proceed according to the scenario described above.

Author: Louis Hoffmann

We recommend interesting articles Section Spectacular tricks and their clues:

▪ Faster than a calculator

▪ pastry hat

▪ five floors

See other articles Section Spectacular tricks and their clues.

Read and write useful comments on this article.

<< Back

Latest news of science and technology, new electronics:

Machine for thinning flowers in gardens 02.05.2024

In modern agriculture, technological progress is developing aimed at increasing the efficiency of plant care processes. The innovative Florix flower thinning machine was presented in Italy, designed to optimize the harvesting stage. This tool is equipped with mobile arms, allowing it to be easily adapted to the needs of the garden. The operator can adjust the speed of the thin wires by controlling them from the tractor cab using a joystick. This approach significantly increases the efficiency of the flower thinning process, providing the possibility of individual adjustment to the specific conditions of the garden, as well as the variety and type of fruit grown in it. After testing the Florix machine for two years on various types of fruit, the results were very encouraging. Farmers such as Filiberto Montanari, who has used a Florix machine for several years, have reported a significant reduction in the time and labor required to thin flowers. ... >>

Advanced Infrared Microscope 02.05.2024

Microscopes play an important role in scientific research, allowing scientists to delve into structures and processes invisible to the eye. However, various microscopy methods have their limitations, and among them was the limitation of resolution when using the infrared range. But the latest achievements of Japanese researchers from the University of Tokyo open up new prospects for studying the microworld. Scientists from the University of Tokyo have unveiled a new microscope that will revolutionize the capabilities of infrared microscopy. This advanced instrument allows you to see the internal structures of living bacteria with amazing clarity on the nanometer scale. Typically, mid-infrared microscopes are limited by low resolution, but the latest development from Japanese researchers overcomes these limitations. According to scientists, the developed microscope allows creating images with a resolution of up to 120 nanometers, which is 30 times higher than the resolution of traditional microscopes. ... >>

Air trap for insects 01.05.2024

Agriculture is one of the key sectors of the economy, and pest control is an integral part of this process. A team of scientists from the Indian Council of Agricultural Research-Central Potato Research Institute (ICAR-CPRI), Shimla, has come up with an innovative solution to this problem - a wind-powered insect air trap. This device addresses the shortcomings of traditional pest control methods by providing real-time insect population data. The trap is powered entirely by wind energy, making it an environmentally friendly solution that requires no power. Its unique design allows monitoring of both harmful and beneficial insects, providing a complete overview of the population in any agricultural area. “By assessing target pests at the right time, we can take necessary measures to control both pests and diseases,” says Kapil ... >>

Random news from the Archive

The brain of musicians adapts to different music 28.01.2018

It is known that the brain adapts to what we are constantly, day after day, doing. The most famous example here is London taxi drivers, who have to keep a map of all of London in their minds and who therefore have an enlarged part of the brain that controls spatial navigation.

And if we take, for example, musicians, then their brains must work clearly differently than those of all other people who are not involved in music; after all, in order to perform, let alone compose music, different areas of the brain must communicate with each other in a very special way.

What's more, musicians' brains will work differently depending on the kind of music they're playing. Researchers at the Max Planck Society's Institute for the Brain and Human Consciousness compared the brain activity of jazz pianists and classical classical pianists. Jazz, as you know, is built on improvisation, and the musician must be prepared for constant harmonic deviations, unusual chords, etc. In the academic classics, the performer always plays the same notes, but they can play them in different ways - interpretation is valued here , consisting of sound dynamics, intonations and other things; it all depends on how the pianist, roughly speaking, puts his fingers on the keys.

And in the experiment, two groups of musicians were shown a video with a hand playing a certain sequence of chords. In some cases, unexpected, as if erroneous sounds crept into the chords, which opened the way to improvisation, in other cases nothing unusual appeared in harmony, but instead some oddities were in the fingering (i.e., in the order of arrangement and alternation of fingers). The participants in the experiment had to immediately exactly repeat the movements on their piano keyboard (it did not make any sounds, so as not to interfere with observing the work of the brain).

During the game, the musicians, whatever they play, one way or another plan their own movements. And if suddenly plans have to be changed unexpectedly, this can be seen in the brain rhythms on the electroencephalogram. An article in NeuroImage says that jazz pianists, when they had to suddenly repeat an unusual chord, replanned movements a little earlier, and they made fewer mistakes, repeating strange harmonies after the hand. In other words, their brains were constantly ready for improvisation. On the other hand, when it was necessary to play with an unusual fingering, then the brains of the performers of the academic repertoire used to be rebuilt - that is, their brains were by default ready to play the same chords, but in a different way.

Other interesting news:

▪ Analogue of human skin for a smartphone

▪ Mechanism that turns smells into memories discovered

▪ The state of the intestinal microflora deteriorates sharply in intensive care

▪ Brain pacemakers for Olympic runners

▪ New suspended speaker system

News feed of science and technology, new electronics

Interesting materials of the Free Technical Library:

▪ section of the site RF power amplifiers. Article selection

▪ article Nonsense on vegetable oil. Popular expression

▪ article Which record was sold the fastest? Detailed answer

▪ article Pistachio mastic. Legends, cultivation, methods of application

▪ article Antenna Isotron for the range 14-30 MHz. Encyclopedia of radio electronics and electrical engineering

▪ article Single-cycle converters with high efficiency, 12/220 volts. Encyclopedia of radio electronics and electrical engineering

Leave your comment on this article:

All languages of this page

Home page | Library | Articles | Website map | Site Reviews