Share Your Version - Ambitious Card Routine

Sep 16, 2007
21
0
Sydney, Australia
Ambitious Card Routine is my favourite routine by far. Firstly, card magic has always been my favourite genre of magic, and it is the first routine I learnt and where I started magic. The sleights were quite easy to learn, and through learning the ACR I internalised many of the backbone sleights used in card magic. The ACR is my favourite and im sure for others for a myriad of reasons:

- Very versatile as it can be applied to the situation with good flow, one can easily branch into the ACR and out of it to another routine
- You can always variate the length of the routine to your liking
- There are alot of options and leeway for patter presentations
- Best impromptu routine, no hassle, no setup, gimmicks etc. someone can hand you a deck of cards and away you go
- Every performer has their personalised version, giving a true opportunity to express their unique performing personality
- Suited for purists and non-purists alike, themewise and gimmickwise
- Every stage of the routine is really hard hitting and better than the last, a strongly ascending climax
- Theres always room to alter and develop your routine as you grow into a better performer
- Ive never failed to get astounding reactions with the ACR from any age anywhere
- Hugely entertaining to the spectators and entertaining to perform

My complete ACR is quite lengthy so i adjust and rearrange the routine depending on the situation. My Ambitious Card Routine is constantly being updated and developed, here is my current complete ACR:

1. Pre-Routine
Deck is examined and shuffled by spectator. A folded and paper clipped card is put aside with a drinking glass placed over it, or placed in a spectator’s wallet and put away for the moment. Disarm audience. The Spectator selects and signs a card.

5. Card Jumps to the Top
Card is placed into the centre by spectator and left out jogged. The top card is shown. The signed card is pushed flush to the deck and with absolutely no funny moves the top card is turned over. It is their signed card.

6. Card Visually Jumps to the Top
The signed card is yet again placed into the middle and slowly pushed in. The top card is turned over; it is not the signed card but an indifferent card. With a simple wave over the indifferent card, and it visually changes into their signed card.

7. Card Transposition to Deck Half Held by Spectator
The signed card is placed into the bottom half of the deck and left out jogged. The top half of the deck is handed to the spectator for clarity. The signed card is slowly but surely pushed flush. The magician snaps his fingers and reveals the top card. It is not the signed card. The magician instructs the spectator to turn the top card of the packet they are holding. It is the signed card. The signed card has jumped from the middle of the packet the magician is holding to the top of the packet the spectator is holding.

8. Top Indifferent Card Transposes to Signed Card
The signed card is yet again returned to the deck, although clearly shown in the centre and left out jogged. The magician claims he wants to be fair and uses the top indifferent card to push in the signed selection as to not touch it at all. The Indifferent card is held away from the deck. With a magical “move” the indifferent card has changed to the signed card, as it was the top card moments before.

9. Card to Mouth
The spectator places the signed card in the middle of the deck and the card is left out jogged. The magician takes it one step further and instructs that the spectator can push the signed card flush into the deck. The spectator complies. The signed card has miraculously jumped to the magician’s mouth.

10. Braue Pop-up
This time the signed card is given a big bend across the middle so it cannot be mistaken. It is placed into the centre of the deck. With a snap of the fingers, the top card magically bends itself and pops up with a little jump. The bent signed card has visibly jumped to the top.

11. Paperclipped
The folded and paperclipped card has been sitting there all along. The glass is removed, or taken out of the spectator’s wallet. The magician explains that he has been able to make the audience see something that has not been there all along. The magician hands the folded card to the spectator to unfold. It is the signed selection.

12. Signature Transposition + Torn and Restored
The magician attempts to straighten the folds and accidently rips the card. The rip card is put away into the magician’s pocket. The spectator selects another card and signs it again. To make it even fairer this time, the back of the card is also signed, preferably by another spectator. The card signed on both sides is placed into the middle. The card jumps back on top on the magicians command, although the signature on the back of the card seems to be missing. The deck is spread to locate a card with a signature on its back. It is turned over and revealed to be the original signed selection! The signature on the back of the secondary selection has transferred to the back of the first selection, which was originally torn and in the magician’s pocket: a double hit reveal. The secondary signed selection is put away into the box to be handed out as a souvenir later.

13. Battery Powered
The primary selection, which now has a signature on both sides, is lost one last time into the middle of the deck. The deck is rubber banded this time to make things as fair as possible. The deck is turned face up and the magician attempts to make the card visually jump to the top while the deck is rubber banded. After several unsuccessful attempts, the magician takes the deck and pops out a triple A battery, joking that the deck is battery powered and that it has ran out of battery.

14. Card to Ceiling
The magician claims that the he cannot perform now the battery is flat and wants to get rid of the deck. The deck is tossed up to the ceiling high above and the signed card has stuck to the ceiling. The deck falls back down still rubber banded. The rubber bands are removed and the deck spread to show that all the cards have changed to blank faces, as the battery has been removed.

15. Post-Routine
The secondary signed card is handed out as a souvenir.

I would love it if you could share your ACR!
 
Aug 31, 2007
467
1
Canada
Wow, i really think you should stop at Papercliped.

Use the other ones on their own, orrotate them as different endings. I like the idea of accidentaly tearing the card after it was folded and then doing a transpo. When it is back in the center of the deck, is it still folded?
 

AllanLuu

Banned
Aug 31, 2007
545
1
32
Calgary, Alberta, Canada
Wow, i really think you should stop at Papercliped.

Use the other ones on their own, orrotate them as different endings. I like the idea of accidentaly tearing the card after it was folded and then doing a transpo. When it is back in the center of the deck, is it still folded?

Depends,

I know Daryl's ACR is about 15 minutes long.

But then again, it is Daryl, he is a shear genious.
 
Aug 31, 2007
715
1
33
Melbourne, Australia
amazing routine but maybe to long and full of surprises and told before i would recommend stoping at paperclipped it wouldn't effect the trick in any way the spec is bombarded in yours to many times to the point of hindering the tricks effectiveness
 
Sep 1, 2007
234
0
34
Calgary
I like how you put that together, my ACR's are only around 3-5 minutes though, I don't like when a tricks done over and over again. Thanks for some new IDeas though I'll be working on my ACR for a while now
 
(In my opinion) Paperclipped is the most impossible effect in your ACR and should be routined so that it's last. If you remember, Jay says on the DVD that you should end all of your card work, if not your entire act, with Paperclipped, because it is near impossible to follow without having anti-climaxes.
 
Sep 1, 2007
720
2
Sydney, Australia
Wow, i really think you should stop at Papercliped.

Use the other ones on their own, orrotate them as different endings. I like the idea of accidentaly tearing the card after it was folded and then doing a transpo. When it is back in the center of the deck, is it still folded?

amazing routine but maybe to long and full of surprises and told before i would recommend stoping at paperclipped it wouldn't effect the trick in any way the spec is bombarded in yours to many times to the point of hindering the tricks effectiveness
He said that he takes stuff out and adds stuff in to suit the audience so I doubt he uses every single mentioned effect in his routine. By the way - very nice routine!!!
 
Sep 1, 2007
1,595
0
Venezuela
I like he daryl's one.. and I finish just like lee asher in his ACR with the 4 of a kind.. or with paperclipped.. heyy man I think you have too manyy tricks, you should stop at paperclipped :p
 
Sep 16, 2007
21
0
Sydney, Australia
A sincere thankyou to everyone for your feedback! Please, post your version of the ACR! A special thankyou to warped_aces for reading the entire post:

He said that he takes stuff out and adds stuff in to suit the audience so I doubt he uses every single mentioned effect in his routine. By the way - very nice routine!!!
 
Sep 2, 2007
1,693
1
My ACR consists of:

5. Card Jumps to the Top
6. Card Visually Jumps to the Top
8. Top Indifferent Card Transposes to Signed Card
10. Braue Pop-up
15. Post-Routine

And I'll add a number 16, though it comes before number 15.

16. Face Up Card Jumps to the Top
The magician shows the signed card face up on the top of the deck. He, then, turns over that card, and gives it the spectater, who, as the magician dribbles the deck, sticks in the card wherever he likes. The magician shows that the top card is not the chosen and signed card; but, with a snap of his fingers the spectator turns the top card over again, revealing that the top card has transposed to the selected card.

Cheers,
JTM
 
Sep 1, 2007
662
2
I don't like it.

Putting together an ACR is like choreographing a dance; you've got the moves, but you have to sequence them, pick the theme, motivations and tie it together into a cohesive whole. Beginning choreographers nearly always try and put in every single move or technique that they know, and it becomes messy. The ACR you describe is more like a whole act than a single effect - you could make so much more out of all those techniques, changing themes and presentations to keep your audience engaged and create a bit of pacing.

Think about a music album; each song has a set rhythm and "mood" to it, a repeating chorus, verses which are musically very similar and some instrumental work. That's not really a lot of elements to one song. Also, each song is usually about one thing, one idea. But, each song on the album is different. If you think of your effects as songs, and your act or repertoire as an album, then you will do a lot more with your magic.

My ambitious card routine (FASDIU):
Presentation: the trick that fooled Houdini
Card is selected, signed and returned to the centre of the deck. Flourish cut; card ends up on top (the easy way...audience relaxer)
Card replaced in the middle, finger snap...ends up on top (the hard way). This is done three times - 2nd time is comedic to take the heat off. Third time using specator placement with a colour change for added fun.
Fourth time, wrong card appears on top. This card is buried in the deck and I try again - bringing the same wrong card to the top again (a very offbeat presentation for the magician makes good plot, serving to relax the audience). This card is placed aside onto a table or hand because it's "screwing up my trick". Light goes on in magician's head; snaps fingers over this card, specatator turns it over to discover the signed selection.
For the final attempt, the card is placed in the middle of the deck, which is slowly squeezed between the palms until only 4 cards remain - the 4 of a kind matching the selection. Which one is on top? You betcha!

I've used this routine as a closer several times. The theme is constant and the "wrong card" variation really helps the effect along. The ending is a little illogical, but it aint half strong. For situations where I don't want to do the deck vanish, I'll stop at the phase before that, which makes an excellent closer for the effect also. It's also worth mentioning that this ACR is very easy to do; simple sleights only, and no pass.

Cheers,
David
 
Sep 6, 2007
15
0
My routine is different. Its broken down like a script in a play. I am playing a

magician who can sleep, The character starts to lose his grip on reality.

I pull the audience in the routine bacause they can physically see the

manifestion of insanity unfold right before there very own eyes. I try to make it

like the ambitious card is driving me crazy.

As for the sleights heres a list. They fit well in tot he patter.

A Jiffy Double " Ed marlo out of Card finess by Jon Racherbaumer 1,2,

Then the no extraineous movement double lift. I can credit SW, Erdnase, and a guy at my local magic shop.

Then I do a bluff shift and several manic false shuffle and cuts. I can credit Alot of people for this. Alot I do 5 false shuffles super fast in no order.

I dove tail in to a card to pocket.

7 card repeat, homing card,card to mouth, and a jack sandwich type effect to break it up. and for the grand finale I throw the deck at a window and the card is stuck to it.

This all sound like alot but once I get going It gose by like greased lighting.
 
Sep 29, 2007
2
0
Sonora CA
Pretty nice. The only thing I would suggest is not doing card on cieling with an acr. Because by the time you get to that, people will know that i has to be on the top again. I would do some sort of transpose effect then do card to ceiling as a finale. Some of you may not agree but I did learn this from Michael Ammar. but paperclipped as a finale for an acr is perfect.
 
Sep 6, 2007
15
0
Here's a cool idea that I do some times when I am just ending my routine.

I always had this idea of drawing a face on the object card. So at the end of

the trick when I am putting the card away it changs into a sad face.

I like doing the cartoon jag too. Thats fun. Its where the little stick figure

keeps jumping on to the object card. Like you draw it put it in the middle and it

keeps jumping to the top . Thats just me.
 

The Dark Angel

forum moderator / t11
Sep 1, 2007
2,003
18
32
Denver, Colorado
1. Several jumps to top.
2. Forcing the card on the spectator multiple times.
3. Card to mouth.
4. Ultimate Transpo with card

Of course it's always nice to switch things up.
 
I only have a small ACR, but I think it does the job.

1. Simple Card Jumps to the Top.
2. Card is seen to go in the middle, Show indifferent Top card. Snap, its changes to there card.
3. They insert, then Pass.
4. Pop-Up move.

And some one gave me the idea of doing panic with there signed card. Where when the deck vanishes, there card is turned over between 4 Kings.

Cheers, Tom
 
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