Color triumphant

circa 1973 FINAL

Let me begin by making it clear that I do not consider this treatment a revolutionary improvement on Derek Dingle's beautiful routine as it appears in Dingle's Deceptions with Cards and Coins, written by Harry Lorayne (circa 1966, page 3). Nor is it a Zarrow-based effect; but while we are on the subject of Triumph effects I thought I'd include it. I consider Derek's routine to be the culmination of the Triumph-Color-Changing Deck routine, the best extant. I have been performing this version for many years to wonderful audience response and wish to "pull your coat" to this marvelous routine. There are some differences between my handling and the original, and I take full responsibility for them. I have included the exact handling I have used through hundreds of performances. Enjoy it—and thanks, Derek.

EFFECT: A card is selected and returned to the deck. After two failed attempts at finding the card by cutting to it, the performer offers to do something more interesting. The deck is cut into three packets and one is turned face up and shuffled into one of the face-down packets. The third packet is then turned face up and shuffled into the already face-up and face-down packet. After a few cuts the deck is spread across the table to reveal that all the cards are face up except one, which proves to be the selection. The deck is then respread and proves to have a completely different back color and design from the selection.

REQUIREMENTS: One regular deck of white-bordered cards and three cards from a deck of a different color and back design. (I have sometimes used a Rainbow Deck—a Clark Crandall idea—in conjunction with this routine.)

SET-UP: Position one odd-backed card on top of the deck and the other two odd-backed cards about one third of the way down from the top. Place the deck into a card box that matches the odd-backed cards.

NOTE: I've never used this effect as an opener, though such use is common for color-changing deck routines. I always perform an opening effect or two with a deck of the same color and design as the odd-backed cards. I then put the deck away, perform a non-card effect or two, then reintroduce the deck. I am sure the audience assumes the deck they see me introduce for this effect is the same deck I was using earlier. This cannot help but reinforce the idea that the cards are of the odd-backed type.

While Derek used a Peek Force, I prefer to use the old-style, front-end Riffle Force for reasons that will become clear. Form a break above the top card of the two odd-backed cards that sit a third of the way down in the deck. To use the Riffle Force without flashing the backs, you must start with the cards held above the spectators' line of sight. Since I begin the routine standing, this is easy. While holding the deck in left-hand Dealing Grip, move the right hand to Overhand Grip and lift the front end higher than the back. Riffle the deck at the middle of the front end, allowing the cards from the bottom to escape from the tip of your right second finger, and instruct the spectator to call "Stop" at some point. Regardless of where the spectator actually stops you, separate the deck at your break and deal off the top card in front of him. Everyone will see two odd-backed cards, the one you are dealing and the one left on the talon.

Reassemble the deck, retaining a break. When the spectator is ready to return the selection, cut at the break and have the card replaced onto the same odd-backed card it previously rested above. Square the deck after the card is returned. If you accept the idea of doing flourishes, this would be a good time to make a Pressure Fan with the faces of the cards toward the spectators, and comment that their card is lost in the deck. If you do a fan, don't look at the faces yourself.

As you square the deck, pick up a fourth-finger break below the spectator's selection and a thumb break above it. Cut off all the cards above the thumb break. The audience will see the back of the spectator's selection briefly, but they will be unaware it is his card. It appears to be yet another of the cards, another odd-backed card. Turn the packet you have just cut off face up onto the balance of the deck. Say, "This isn't your card?" The remark is more a statement than a question, but it has a hint of question in the delivery. With your right thumb, grasp the card above the fourth-finger break, adding it to the upper packet, but create a right thumb break above the added card. Immediately move the lower packet downward and to the left, so its back will be seen. In a continuing action, turn this packet face up in your left hand as you repeat, "And this isn't your card?" The spectator will agree. Put the two packets together, adding the reversed card from the upper packet to the face of the lower packet but maintain a fourth-finger break between the packets. This sequence is an old technique for reversing a card in the center of the deck. It works well here because it shows only odd backs. This center reverse is, I believe, Clyde Cairy's (see The Phoenix, No. 264, September 19, 1952, page 1055; the Cairy trick mentioned there has so far eluded me) but includes touches from Irv Wiener, although it is often mistakenly credited to Fred Braue (referred to as the Braue Reverse on the basis, it seems, of its appearance in Royal Road to Card Magic, 1949, page 191).

4 "That's two down, fifty to go. You don't seem to like this method of finding a card. I have a better way." As you speak the line, spread the upper portion of the deck from left to right. Exercise care not to reveal the reversed card as you spread. Square the deck again, inserting the tip of your left fourth finger into the break you've maintained, and execute the Tenkai-Marlo Pivot-Step. That is, move your left thumb under the deck and push upward to lever it over, pivoting it on its right side. The fourth-finger break causes a step to form. This should appear casual. The top of the deck and the step both show odd-backed cards (Figure 218). A bit of care must be taken with this procedure to prevent cards other than the card at the top of the step and the card at the top of the deck from flashing, but it can be done reliably.

5 With the right hand, retake the deck into Overhand Grip and square the cards, converting the step back into a break. Undercut all the cards below the break to the top of the deck and square it briefly while maintaining a break between the packets. Retain the deck in left-hand Dealing Grip and separate the hands as soon as the squaring is finished.

6 You are about to divide the deck into three packets. Cut off all the cards above the break and gingerly place them to your right on the table. Be careful when you release the packet that the top card remains square with the top of the packet. As the right hand returns to the deck, the right second finger contacts the extreme left front corner and the right thumb grips the extreme left near corner of the deck. Curl the first finger on top of the deck. Lift about half the packet at the back only and pull downward with the left fourth finger, as though doing a Pass. Through this action, cause the lower packet to reverse partially, arriving at a position roughly perpendicular to and along the left side

of the upper packet (Figure 219). Push upward with the left third fingertip to cause the packet to complete its reversal. Resquare the lower, reversed packet as you retake it into Dealing Grip by pulling inward, toward the left thumb, with the left fourth finger. Continue to raise the upper packet (Figure 220) and place it onto the table, in the middle, again exercising care. This packet reverse, based on Bruce Cervon's Half Reverse Cut {Epilogue, No. 6, July 1969, page 42), will take a bit of work. It should not be performed quickly but there should be no break in rhythm. This slight technical variation (I think improvement) also differs from the technique Derek uses. When properly executed, it looks as if the deck were simply cut into three packets; that's all. sequence to be deceptive. I might add that I have never been able to get this move to look right if I did it seated, but when I'm standing, it looks fine. Finally, place the last packet, which is reversed, except for the uppermost card (the selection), on the table. Harry Lorayne noted that the three packets you form should not be tabled too close together, to prevent the accidental spreading of a packet other than the one you're taking. I have never had this problem, but it is good advice to be careful.

I sit down as I deliver the following line: "What I propose to do is confuse the cards into telling me which one is yours. Here's how I do it." Now seated, I continue, "I'll shuffle some cards face up and some cards face down." Grab the packets at either end; the packet on the left is a face-up packet except for its top card. Turn the packet at the right face up and spread it a bit as you drag it back toward you. This spreading should appear accidental.

Square both packets and riffle shuffle them together on the table. Drop at least one card from the right-hand packet before you begin dropping from the left-hand packet. Also make sure that the top card of the left-hand packet is the last to drop. Make sure the face-up cards in the left-hand packet don't flash during the shuffle.

With your right hand, take the third packet, which is face down. Turn it face up, allowing it to spread a bit. Again, this should appear unintended. (If you inten

tionally spread the face-up packets you should, logically, spread the "face-down" one, which you can't. It's better not to spread any packet rather than arouse suspicion by openly treating the packets differently.) Shuffle the face-up right-hand cards into the supposedly face-up and face-down left-hand packet. Make sure the single odd-backed card from the right packet falls first and is followed by the odd-backed card from the left packet. You can then shuffle freely, but release the top (odd-backed, selected) card last. Care must still be exercised to prevent the face-up condition of the left packet from being revealed in the shuffle.

Form a break near the middle of the deck and do a Tabled Slip Cut, which takes the top card (the selection) to the middle without disturbing anything else. As you complete this cut, form a thumb break above the selection. "I now have a mess of face-up and face-down cards." During your comment, form a second thumb break below the uppermost (face-up) card, then perform a Double or Triple Cut to shift this card from the face (top) to the rear (bottom) of the deck, making the first cut at the break above the face-down selection so that face-up and face-down cards show during the cut sequence. If you wish, when you make the first cut, you can show that the lower packet has a back on both sides. This helps to reinforce the face-up and face-down condition, while at the same time showing two odd backs. This Double Cut of the top card to the bottom adds a cover card to what will become the top of the deck. This will be needed later. (This is Derek's method; see Alternate Clean-Up for the handling I use.)

"I created this mess and I'm responsible for cleaning it up. If I wiggle the fingers of both my hands over the deck [suit action to words]—it stretches my fingers and feels really good. It also has a magical effect, causing every card in the deck to face in one direction—except one. You believe me, don't you?" The audience will disagree; some will say "Yes," others "No." Pretend to hear only the yes responses. "Good. Then I don't have to show you." The audience will grumble. "I can't get away with anything with you folks." Address the spectator who selected the card. "What was the name of your card?" When he names it, ribbon spread the deck widely across the table, revealing all the cards face upward except for one. Remove that card and show it to the spectators, who will agree that it is the selection.

Pause for a moment to accept your applause; then say, "I thank you for your appreciation but it really wasn't all that difficult. The cards are marked. I'll show you." Turn the selection face down and say, "On the back you'll notice the red [or blue] markings—here this will help." Pick up the ribbon-spread deck and square it. Turn it face down and spread it across the table without exposing the two odd-backed cards second and third from the top. "See how you can tell because of the little marks. This card is just a little different from all the others." I have never failed to have the audience break into spontaneous applause at that point. Accept it graciously and busy yourself by picking up the deck and squaring it. Then turn the deck face up and with a Double Cut bring the lowermost card (the cover card) to the face. With a Bottom Palm or Gambler's Cop, steal away the two odd-backed cards in your left hand, place the deck onto the table, pick up the selection with your right hand, take it into your left, and put it into your left outside jacket-pocket, unloading the two palmed cards while you're at it. You're then free to continue with the same deck.

ALTERNATE CLEAN-UP: In Step 10, instead of moving a cover card into position with a Tabled Slip Cut and Double or Triple Undercut, I frequently form a break above the two odd-backed cards and simply lap them off the bottom of the deck as I pick it up. A cut, in the hands, brings the selected card to the center and I end as described, but with the deck completely clean. The lapped cards can later be picked up from the lap in a palm and disposed of in the pocket under the guise of getting rid of the odd-backed selection.

NOTES: This is a very strong routine and should not be overlooked. I'm not sure exactly how Derek credits this effect other than as stated in his book, Dingle's Deceptions, but I see a clear relationship between this and Brother John Hamman's "Face Up-Face Down Surprise" from The Card Magic ofBro. John Hamman S.M. (1958, page 32). As mentioned in Lorayne's Afterthoughts, following the description in Dingle's Deceptions, Bill Simon's "Four Packet Shuffle" (Skightly Sensational, 1954, page 21) is the major predecessor. The Tabled Slip Cut is sometimes erroneously credited to Ed Mario, who deserves credit for the multiple-card Tabled Slip Cut (suggested by The True False Cut in Expert Card Conjuring, 1968, page 20), but the single-card Tabled Slip Cut is a card cheats' technique.

The only technique in this routine that is at all demanding is the packet reverse used in the lay-down of the packets, and even that isn't difficult. I cannot emphasize enough how brilliantly Derek's routine is constructed. While I believe my technical changes are significant, I have not tampered with the fundamental structure. I believe this routine alone would earn Derek Dingle a place in card magic's hall of fame, if there were one—and there should be. I hereby nominate him.

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