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DINGLE'S DECEPTIONS By DEREK DINGLE
Cover Photo CHARLES REYNOLDS
Illustrations WILLIAM MORALES
Published by HAINES HOUSE OF CARDS NORWOOD, OHIO
Printed By DOCK HALEY CONNERSVILLE, INDIANA 4 7 3 3 1
TABLE OF CONTENTS
FOREWORD (By Harry Lorayne)
1
COLOR TRIUMPHANT
3
OPEN SESAME
10
THE D D COLOR-CHANGING DECK
18
THROUGH 8s THROUGH
24
THE INTERNATIONAL COIN TRICK
37
FOUR COINS IN THE COUNTIN'
42
BONUS
53
FOREWORD Derek Dingle "fools the pants" off me! Aside from the fact that he does each sleight well, his routines are well thought out and beautifully put together. After all the years I've been involved with magic, I rarely get too excited over another close-up performer. The ones who have excited me can be counted on the fingers of one hand. I know this sounds egotistical, but it's true nevertheless. Derek excited me. I like to be fooled, and I like to see good magic performed well. When he asked me if I'd be willing to write some of his routines and put together a book for him, I had to think about it for a while. Not because I didn't want to do it, but because of the time involved and more important, because his routines have to be explained thoroughly and in complete detail. (And also, I guess, because I selfishly didn't want them to get around too much.) Obviously, I decided to do it. Before I wrote any of the routines included here, I used them for some time — for magicians and laymen. I decided against a few that Derek wanted to include. I felt they were too specialized and it would be difficult for the reader to get the reaction I felt he should get from each of these routines. So, for what it's worth — the ones included here have been used by Derek for some time, but also "audience tested" by me. Please bear in mind that all Derek's routines are great, so far as I'm concerned. But as you no doubt know, there are certain things that only certain performers can do. To be fair to you, I had to eliminate the routines or effects that I felt only Derek, or top-notch close-up performers, could do to advantage. I think you'll find enough here to keep you busy for a while. All these routines are Derek's, with some of my thoughts thrown in occasionally. Each one is explained in complete detail, to the best of my ability. That means that NOTHING has been left out of any one of them. I have never written any magic where each effect was not COMPLETELY described. I do not agree with some writers of magic who think it's "chic" to omit one important detail from each trick. I know of one who leaves out an important point because he feels that if the reader is any good, he'll figure it out for himself! Well, to each his own! Any effect or routine you'll ever read that I've written, will be completely detailed. In this book, I obviously had to take it for granted that you know some of the standard sleights. I didn't think it necessary to explain how to do slip cuts, double-lifts, etc. This is not a book for beginners, and frankly, anyone who cannot do at least a half-way decent double-lift, slip cut, card control, and so on — should not be reading it. As in all my books, I'll again admonish you to learn the routines before changing anything. It would be silly, and a waste,
AS EXPLAINED
page one
if you did not take advantage of Derek's (and my) experience with these routines. Also, as usual, be sure to read my "Afterthoughts." Very often, rather than complicate an explanation with TOO much detail, I leave some of it for the Afterthoughts. Well, I envy you. You have some great routines to look forward to learning and performing. I wish there was some way you could see these routines performed, then I KNOW you'd give them the practice, time and effort they deserve. HARRY LORAYNE.
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COLOR TRIUMPHANT I love routines with good double climaxes. Here's one with a strong climax. It's a great opener for a series of card effects, although it really can be used at any time. (See Afterthoughts.)
TRIPLE
The basic effect is that a thoroughly mixed (face up — face down) deck rights itself by magic; a selected card is found, and the entire deck (except the selected card) changes color! The beauty of this is that, if done correctly, to be thoroughly mixed, face up and face down; will REALLY believe that the backs of all the Learn to do this routine well, and you'll see for
the deck REALLY appears and that your spectators cards are of one color. yourself.
I'll explain it in detail, just as Derek performs it; there'll be some other suggestions in the Afterthoughts. The deck used is, say, a blue-backed deck with three red-backed cards from a matching deck. Two of the red-backed cards are on top of the blue-backed deck, and one red-backed card is about a third from the top. The deck is taken from a red case, of course. Hold the deck squared and face down for a moment, so that the red back is seen. DON'T mention color at any time. Now you must secure a left little finger break above the red-backed card that lies a third from the top of the deck. You can, if you like, riffle upward with the right thumb at the rear of the deck until you see the red-backed card. Since you know approximately where it lies, this takes only a second. When you spot it, secure the break above it. Derek does it that way, or — spread the cards from left to right hand with faces toward the spectators, saying, "I'd like you to take any one of these cards — but wait, most any magician can find a card selected that way; let me make it more difficult." What you do during this patter, is to spot the red-backed card as you spread. Then, as you close the spread, secure that break above the red-backed card. All right; deck is squared and face down in your left hand. The right hand approaches and, from above, lifts all the cards above the break. Lift just enough to allow the left thumb to slide the top card from the top of the righthand cards onto the left-hand cards. (See Fig. 1). This is just to impress the red backs on the / spectators' minds (without sayx ing anything about it). As you toy with the deck, as just des' ^ F'3i ' cribed, three red-backed cards are visible. As you slide the top card over, retain your left little finger break page three
above the original red-backed card. In other words, your break is two red-backed cards at this moment. (See Afterthoughts.) Continuing your patter line, say, "I'll have you simply peek at any card. Just say "stop" whenever you like." Here you do a "peek force." That is — holding the deck in standard 'peek' position, run a finger from face to rear of the deck, at the upper right corner, timing the action so that the spectator stops you near your break. Then simply open the deck at your break. (See Afterthoughts.)
BETWEEN
Open the break fairly wide here, so that not only do they get a good look at the force card, but also a red-backed card (See Fig. 2). What you've done is, you've forced the TOP one of the two redbacked cards. Close the deck, retaining the original break. Do a squaring motion, running your right fingers back and forth along the ends of the deck. Now the right thumbtip allows one card to fall at the break, onto the left little fingertip. Don't allow it to fall flush. (See Fig. 3). The right hand flips over (face up) all the cards up to the break. These fall onto the one card you've just released. This card coalesces with the Fig. 3 cards you've just flipped face up. The right hand re-grips (holds) the top portion of deck so that immediately, in the same motion, the left hand flips the lower two thirds of the deck face up. (See Fig. 4). This portion goes beneath the right-hand cards. All this takes but a second and what you've accomplished is — you've turned the entire deck face up, except the peeked-at card. During the action, two cards are seen; the face card of each packet as it's flipped face up. Your covering patter is to ask, "Is this your card? No? How about this one? No?" (See Afterthoughts.) Square the deck, retaining your break at the vital spot. Spread the deck (still face up) from left to right hand, saying, "Well, that leaves page tour
me fifty more to work with." Be sure not to expose the reversed card during the spread. That's the reason for retaining the break. Simply push off a few cards in a group as you reach the break. (The break isn't really necessary. Since you know approximately where the reversed card is, you can push off a group as you near it.) Square the deck, retaining the break (or re-securing it. See Afterthoughts). Right hand rests on deck from above. The right thumbtip allows one card to fall from above the break to the top of the lower part of the deck. (Just as you did before, except that now the deck is face up; look at Fig. 3 again. Also, this time, allow the card you release to fall flush onto the lower portion of the deck.) Insert the left little fingertip into the break above this card. (You want a fairly wide break here, as you'll see in a moment (See Fig. 5 ) . —**. F| The left thumb goes under the entire deck 9- 5 and pushes up in order to flip the entire deck face down. The break automatically causes the deck to "step." (See Fig. 6 for completed move). This is a subtle touch. It again allows your audience to see more than one red-backed card. Grasp the deck from above with the right hand. The left hand undercuts all the cards at the step to the top. As you deposit these on top, secure a left little finger break. The deck is being held face down in your left hand. Left little fingertip is holding a break about a third from top, and forefinger curled under the deck. Now — you're going to cut the deck into three face down packets — onto the table. Do it this way: The right hand approaches and takes all the cards up to the break and places this packet onto the table, to YOUR left. The left hand remains stationary throughout. Now —• the right hand approaches the deck again, and takes half of the remaining cards, from above. However —• if you just removed this packet, a blue back would show on top of the left-hand cards. So: when you take the top half, the right hand should cover the deck as much as possible. (See Fig's. 7A and 7B.) Then, AS the top half is removed, the left forefinger opens so that the cards it holds TURN OVER. (See Fig. 8 to see action starting, and Fig. 9 to see it completed.) A red back shows on top of this packet now. Please don't make a 'move' out of this. Your attention is on the packet in your right hand. This packet is placed to the right of the one already tabled. You flip over the lower portion as soon as there's room to do so, which means AS you remove the top half. Your left hand should page five
be palm up, just as in Fig. 9. You do NOT flip this packet over with the left thumb; it's done by opening the forefinger, as described. If you place the packets onto the table properly, the right arm will completely cover the action of the left hand, anyway. Okay, now the right hand returns for this last (third) packet, and places it to the right of the other two. This cutting of the deck into three tabled packets -is a crucial point. It MUST be done in beat, or in rhythm, if you like. ANY hesitation will ruin the effect. The odds ' are you WON'T do it correctly the first few times. PRACTICE it a while.
(a) Back View
When you come for the second packet, DON'T riffle down with the left thumb to make it easier to grab half of the left-hand cards. If you do, you'll expose blue-backed cards. The three tabled packets should not be too close together; leave some working Fig. 9 room. If you've followed me up to here, this is the situation: — There are three face down packets on the table. Each one has a red-backed card on top (that's the point). The first two packets have an indifferent red-backed card on top of face down blue-backed cards. The last packet has the SELECTED red-backed card on top of FACE UP blue-backed cards. Check it; see if you're in that position. Whether you are or not, I suggest you start from the beginning and get to this point in the routine, again. There must be no premature spreading of cards as you form these three packets. When you place each one to the table, do it NEATLY. All right; you patter as you continue: "To make sure your card is hopelessly lost, I'll shuffle some cards face up and some face down." As you talk, flip over the center packet (face up) and spread it a bit to SHOW all face up cards. page six
Square it, and riffle shuffle (ON THE TABLE) this packet into the third packet (the one to your right). The bottom (rear) card of the face up packet must fall first. Then riffle normally and allow some righthand cards (face down packet) to fall last. The riffling is done with the thumbs, fingers of both hands hiding the fact that you're really shuffling face up cards into face up cards. (See Fig. 10). The thumbs have been moved back in the figure so that you can see the action. The illusion of face up cards going into face down cards is perfect. Now square these cards. Flip over the packet at your left (the first packet), and repeat exactly. IE — spread the packet slightly to show all cards face up and then shuffle into the face down (?) packet. The bottom (rear) card of EACH of these packets is a red-backed card. They must be together at the rear of the deck after your shuffle. So, allow one card to fall first from either packet, then shuffle from the other packet, and complete the shuffle as before. Again, the illusion of face up cards going into face down cards is perfect. You see now why I suggested you leave yourself working room. If you should inadvertently touch the first packet as you shuffle the other two, the top card may move, exposing a blue back. During these shuffles, you must avoid any premature spreading of cards in the face down packets. Your position now is this: The entire deck is face up except for the top card. This is the selected red-backed card. The two bottom (rear) cards are the two indifferent red-backed cards. Now do a table slipcut (See Fig. 11), and complete the cut. This serves to 'rap in' the red-back idea, and also places the selected card into the center of the deck without changing anything else.
Fig. 11
Square the deck, turn it face down and hold it in your left hand. Patter here about all the cards being mixed face up and face down and the selected card being hopelessly lost. As you talk, nonchalantly push off the top card slightly. This again, shows two redbacked cards. (Be careful not to spread any more.) Square, and turn the deck face up. Secure a left little finger break page seven
under the top face up card. Undercut about half the deck to the top. (See Fig. 12). Square, but continue holding the break. There's a possibility of cutting to the selected face down card here, but it doesn't matter if you do, since the deck is supposed to be mixed as to face up and face down cards. Now ask for the name of the selected card. As soon as it's mentioned, cut the cards up to the break to the table, then drop 12 the remaining half deck onto it. Do a wide ribbon spread and all the cards are seen to be face up, except one card near center. Pause here to allow this first climax to register. Now, slide out the one face down card. Ask for the name of the selected card again. Turn this card over to show that it's the correct one. Pause for this second climax. Turn this card face down again, point to any corner of its back, and say, "It was easy to find your card because it has a mark right here — none of the other cards has that mark." During the last part of that sentence, leaving the selection face down — square the deck, turn it face down and do a wide face down ribbon spread showing all blue-backed cards! The two indifferent red-backed cards are second and third from the top (because of that top face up card you "broke" a moment ago), so all you have to do is be sure NOT to spread the last few cards. This is your third and final climax, and it's a "killer." AFTERTHOUGHTS: — I realize that when a routine is explained this thoroughly, the reader can sometimes lose sight of the overall effect. Please don't allow this to happen. I have no choice but to explain it this way, since I want you to do it correctly. It's too beautiful to ruin. Done correctly, it "flows."
I want to explain exactly how Derek does the "peek force." After he slides that top red-backed card onto the red-backed card third from top, he does not re-secure the break. He squares the deck; sometimes even puts it on the table for a moment as he patters. Now — hold the deck face down in your left hand. Bevel the deck slightly toward the right. Then grasp deck (in preparation for the peek) with the thumb on top, lying almost parallel with the left long side of the deck. The tip of the thumb is near the outer left end of the deck. The other four fingertips are at the right side with the little finger just at the side of the lower end. This sounds complicated, but one look at Fig. 2 will clear it up. Now, holding the deck so that you can see the inner ends, riffle up with the right thumbtip. As soon as the FIRST red-backed card falls, insert a bit of the flesh only of the left little fingertip. page eight
Done this way, no step or break will show anywhere except at the inner end, at the right side —• and that can't be seen. Then do the "spectator stop." At his "stop," the left fingertips simply open the deck at the break. (The left hand opens the bottom half of the deck away from you rather than the right hand opening the top half toward you — it's a combination of both, really.) After the spectator has seen and remembered his card, close the deck and you'll find that even if you retain the break, no step or alteration will show. I say, "EVEN if you retain the break," because if you like, you can lose the break after ihe force, and simply thumb riffle at the rear, locating that first red-backed card, when you're ready to continue. Practice Derek's way of forcing the peek a few times —• you'll like it. Of course, you realize that you can force this card any way you like, as long as no blue-backed cards are exposed. You can force the card with the deck held face up, but then you'd know the card too, and that would lose a lot of the effect. Or — you can use the "knife stabbing" force, etc. I'd suggest you stay with the peek. Derek uses this routine at any time, by switching from the deck he's been using to one already set up for this. His deck is set as explained, with the blue-backed duplicates of the three red-backed cards REMOVED.
Of course, it isn't absolutely necessary to remove the three matching cards — but why take chances? At least remove the duplicate of the card you intend to force. Derek always removes all three. Also, although it's possible to set a dock during your performance, it's just as easy to switch decks. Derek simply puts the deck he's been using into his carrying case, does a coin effect or two, then is "reminded" of another card trick. He takes out the set deck and does Color Triumphant. You can do the same with a jacket pocket. I certainly wouldn't advise doing any fancy, sleightof-hand deck switches. It "ain't" necessary. Most often, Derek uses this as an opening effect. Then he puts the deck away, does the one or two coin effects, and brings out the (?) deck again. You can start the routine with one red-backed card on top and two already placed at a third from top. Then go right into the peek force. You're better off doing it just as explained. It's put together perfectly to impress the red backs on the spectators. In my book, MY FAVORITE CARD TRICKS, I explained a routine called, "Color Coincidence." It also uses three stranger cards and is a color changing deck routine. You might want to check it and compare it with this one. Practice this; particularly the force, the cutting into three packets, and the riffle shuffles. The riffle shuffles are much, much easier to do on a surface with "give," like a close-up mat. Get it all working smoothly and you'll fool everybody, including fellow magicians. If eyes don't pop at the third climax, you're doing something wrong! page nine