Share Your Version - Ambitious Card Routine

[Joey]

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!

[Glenn West]

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]

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.

[dasuprememep]

so damn comprehensive. Fantastic!

[drorange]

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

[silent]

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

[BlueBackedBikes]

(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.

[Shanku]

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!!!

[Aris.SA]

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

[drorange]

i think it is a great idea to add paperclipped in i never though of usin it in that way

[Joey]

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!!!

[Jack The Magician]

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

[Shodan]

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

[TheMagicOfT]

I use Solid Decepton by paul harris, with extra moves.

[magison83]

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.

[itsthemagickid]

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.

[magison83]

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.

[Jordan Garret]

Well I do a few Jumps

Top
bottom.

Swap places in someones hand.

Blah blah.

But i always finish it off by using elevator. or is it escalator?

[The Dark Angel]

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.

[Twozwozer]

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

[thetrilogy-corE]

nice ideas guys :)

my ACR routine is pretty similar to some of yours but i allways like to end up by vanishing their card from the deck completly.
Almost Everytime with the Patter: Y´know what the weired part of that trick is? There never was a possible way to make the card jump. There never was a possible way for the card itself to be picked by your hand. Becuz.....there is no 7 of diamonds (example) in the entire deck. Showing ´em one card after the other.

My technics to get rid if the card are different everytime depending on my audience.

My Regards

[Ben Long]

Card to top, card to top, card to mouth, White or Wheat. Last part isn't technically ACR, but since it works with a signed card, why not?

[Jordan Garret]

I have been wanting to try card to box..

i should do that tomorrow. Let you guys know how it went..

HMM....

The possibilitys.

[conjure_pitch]

I love that wrong card variation. Its a brilliant idea.


My ACR is as follows:

A card is selected, signed and placed into the center by the magician. With a flick of the wrist the card jumps to the top.

The card is then placed outjogged on the top of half of the deck (half the deck is in either hand of the magician) It is then pushed back down onto the top of the bottom half by the spec, taken off the top of the bottom packet into the middle of the top packet and the bottom packet is cut so that the other packet goes into the middle of the bottom packet. Snap of fingers, card rises to top.

Same thing repeated, only by magician only.

The card is placed face up into the middle of the deck, a flick of the wrist causes it to rise, still face up to the top.

The magican then explains that the deck works against gravity, so when the deck is turned upside down, the card will rise to the other side of the deck.

This is repeated several times, in various ways.

The magician then cuts the card very very very clearly into the middle and the packet is held sideways, in straddle grip. The magician asks the spectator where the card is going to go, if it works against gravity, and is held sideways. The spec replies with a confused answer and then the card flies out of the deck and is caught by the magician.


Its very very effective, quite short, and very rediculously hard to describe in words, as I think all magic should be.

[Bizzaro]

Roll this around in yer melon.

ABC is a lot like card manip and linking rings. If you can link two rings.. who is to say you can't link 8.. or 50? Just because you can Do every move with a trick doesn't mean you SHOULD.

I have a long ABC routine. Is it necessary? No. I now use a three phase with one last "cincher" at the end. (Card upside down in the middle of the deck visually comes to the top ala' the spring flip I perform.) A seldom used, but really good subtlety is to let them turn over the top card themselves. Dunno why really, but it hits them harder.. especially if you do it a few phases in.

Recently I have been working on a routine that uses NO multiple lifts... so here is a challenge to all of you. To stretch that old brain of yours - create a three phase ABC routine that uses NO double lifts.. at all. See what you can come up with. Post them here. Amuse yourself and others.

[Shodan]

A challenge, yes, but not one I am too interested in. You make a good point about "just because you can do every move with a trick does not mean that you SHOULD". This is true, but then you are left with the task of deciding what the best moves for the job are. I think that multiple lifts - doubles to be precise - are the best suited sleights for the job, and so that's where you should focus.

For the record though:

Drop Addition -> Miracle Move -> Backstage Pass

This is a three phase routine using no multiple lifts. It builds, as the card is seen clearly in the middle of the deck in the last phase. It is weak though, as being unable to use multiple lifts means that you are unable to show the card NOT on top before making it rise. I guess you could accomplish this with a second deal and a top change, but neither of those moves can take a lot of heat.

[Bizzaro]

Actually there are subtlety moves that allow you to "show" it in the middle instead of having to prove the top. Showing that it is not on top in many cases tends to be a running when yer not being shased kind of thing I have found. if the card is signed especially, there is no question. I have NEVER had anyone think it is still on top, (At least not during an ambitious routine) but I have had some people who have had experience with magicians be looking for a multiple turnover. (Some people expect an apple turnover, but they're just silly.)

People tend to believe what you tell them and if you tell them it's supposed to be amazing they will think it is.

[Shodan]

Depends on your performing style. I like to rule out the possibility in my audience's mind before they realise it might be a possibility. By this I mean the following (phase three of my ACR):

Card is placed using tilt. Patter line: "did you see it come to the top? Well, no, that's because it hasn't happened yet!" Turn over top card to reveal an indifferent, whilst preparing for a double. "It doesn't come to the top until I do this" Do a double to show the card.

Clearly, this is not "running without being chased". All that I'm doing is separating the mechanics of the method from the moment of the magic. When it comes down to it, I still stand by my assertion that multiple lifts are the best tools for the job, and rather than set arbitrary handling challenges, I prefer to work on my handling of the double lift until it is flawless - and people with experience of magicians can eat my dust!

[Bizzaro]

Well I was just offering a brain stretching excercise for the kids at home. I agree, double lifts all the way around, but sometimes it's fun to challenge yourself... to grow and think around problems. By stepping out of one's comfort zone, only then can your outlook and experience grow. (And sometimes skill)

In reply to your tilt idea, troo it's easy and effective (perhaps.. too easy?) but you could still do the same moves without a double lift. Imagine this if you will:

Doing tilt, and asking if they saw it come to the top. They of course say no and you show the top card showing it has not happened yet. Then performing some sort of move not usually used for this effect (In Your Face Change or One handed Top Palm) you can have them turn over the top card now. No double lift required.

Not saying it's wrong to use said DL.. I just like to poke people's brains with a stick sometimes.

Capice'?

[y2john]

Hey Bizzaro, I agree with you.

Although many of these ACR's contain many good ideas, I feel they contain too much.

As for showing the top card... there is no need as if the card is placed in the middle then why would it be on top.
Of course the way Shodan describes shows the top card without it looking funny, but i'd only do that once in the routine.

Bizzaros challenge was a good idea, and I am always challenging myself to come up with things like this, not to use in performance but just to help fuel my creativity.

Some of the things people are adding into there ambitious card routine are actually taking away from the overall effect, and many go off track into other effects.
I like to keep my ACR simple and direct, with each phaze building until the impossible climax.
My ACR is just four phases long, for me thats sufficient and enough to do the effect justice without overdoing it.

Of course I won't be sharing my actual ACR as the way we routine our effects should be unique to us.

Still... some great ideas from those who are contributing there routines, especially the Paperclipped ending. ;)

[The Royal JRA]

ok heres my routine of coarse like you said it changes depending on the situation but ill just go through some of the sleights i use

1.i might have a spectator say stop on a card brignt it to the top and say you can have this card or this card and perform shapeshifter if they want that card back i do a twirl or wave change or i will just have spectator sign selected card and place on top
2.cut pack and single fan other half and place card in the middle of the fan and place in back into the middle of the left hand packet i say its not on top yet but if you hide the top of the deck from veiw it comes to the top and simply quickly turn my wrist down and back and the card is on top i then repeat this
3. i then say people dont belive that is acually the card going into the middle so without giving it away i do a "drop off move" and show that is their card i then proceed to do the fan and then in the middle and it is back on top
4.i then do another drop off move jogging the card out and showing it face up put it in the fan and tell them to push it in performing card to mouth.
i will then say maybe im using to many cards i will do drop off and put card in half the pack sticking out push it flush and it ends up on top on the other pile
i then do the same thing but i use the second pack to make them say stop and do a riffle force and have them mark and X on the back of the newly seleced card show them its a indifferent card and say this will be the new top card, place it on top sqaure in "their card" in the deck have them turn over the top card and it is theiers i then say here i have a souivenier for and and show them the card is in a ziipered comartment in my wallet that is more or less my ACR

[DdM1991]

nice routine

but after paperclip the card is crunched. won't people notice that?

[muhazz]

I don't like my own acr, so I won't post it. And I know only 2 or 3 sleights, so there are no really new or spectacular effects.

But I saw an acr that really impressed me...
It's this one http://www.youtube.com/watch?v=P6o3T91CNgI
It's quite similar to JRA's.
I don't know much about acr's or about all techniques behind them, but this acr just didn't become and I think the order of the tricks produce a nice climax.

I think it's really well thought...

- muhazz

[thetrilogy-corE]

aaaa i really love KAMMs ACR :)

But theres one bad thing about his performance style i think...

his double lifting is great....but i EVERYTIME...know, when he is executing one....his "get ready" ...is kina....tooooo....hard....to agressive....i dunno how to explain ^^

but still love it!

[sourboarder]

Since no one else is sharing there acr i will

1. it's not exactly improve but if i have time i start with a here-there. wonderfully simple effect that packs too hard. then i say since you have it give it a sign.
2.le paul's bluff pass.
3. signed card put in the middle jumps to top.
4. marlo tilt.
5. i forgot the name of this one but its the one where the deck is cut in half the card is pushed flush with the bottom half and then sticks out of the top half and the bottom half is brought to the top. but for me its modified and I do shapeshifter. <--- soo hard to learn but once you get it it's great!
6. second deal pushed in the center and then deck is flipped face up and winter change is done.

Then i say here you go as a souvenir.

[Sharog]

Alot people like getting a small variation in their ACR with a different ending or something fancy somewhere inbetween, but really, 99.9% people use the exact same patter for the ACR regardless of the moves, that is actually something u can work on to make yours different.