Introduction ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ Are you tired of always repeating the same basic tricks over and over? Looking to step up your game and perform a routine involving several different tricks? Then it is time to learn the Ambitious Card routine, one of the most popular tricks among intermediatelevel magic enthusiasts.
About the performance ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ The Ambitious Card routine is an effect where the spectator’s selected card is constantly moved to the top in increasingly impossible conditions. The audience sees the chosen card in a certain position, only to find that it has somehow moved in the span of a few seconds, in an absolutely invisible manner.
Unlike other magic tricks that anyone can learn and perform, the Ambitious Card routine requires some knowledge of sleight of hand in order to function. This means that you, the performer, will have to thoroughly practice your routine and truly master it in order to get the best results. My recommendation is that you practice 10 times as much as the number of actual live performances you give. Also, be sure to learn how to get your audience involved in your tricks and make them truly care about your performance if you want to obtain the best possible reactions.
Organization of the instructions ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ The instructions are organized in movements. Each one of these movements represent a singular trick revolving around the central theme of the card moving to the top of the deck. Since there are many variations of this routine, it is possible to replace a trick described in one of the movements for another one you might know, but make sure you always fulfill these three requirements: 1. All the movements must revolve around the same central theme. 2. Each subsequent movement has to look more impossible than the previous one. 3. Do not perform more than 3 or 4 movements, or you risk boring the audience.
The routine ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
I will be using an advertisement card from Ellusionist’s Ignite deck in order to represent the spectator’s card.
First movement
1. Have the spectator select a card. If you are not afraid of ruining your card, you may ask the audience to sign the chosen card. It is a good idea to use inexpensive and easily replaceable decks, like the standard Bicycle decks made by the United States Playing Card Company.
2. Perform a Marlo tilt while the spectator is looking at the card. This is done by catching a pinky break under the top card and elevating it to roughly 25 degrees. The Marlo tilt is fairly angle sensitive, and you should under no circumstances let anyone see the gap created by the tilt.
3. Angle the deck in a way that the spectator’s line of sight is perpendicular to the tilted card and insert the selected card into the opening, then square the deck. This will create the illusion that the card is being slid into the middle of the pack.
4. Take the top card and show it to the spectator, then say something along the lines of: “As you can see, the current top card is not the one you chose, but once I snap my fingers, your card will jump to the top”. While you are doing this, catch a break under the current top card, which should be the spectator’s card, then place the card you just showed them on top of the deck. You should now have 2 cards above your break.
5. Snap your fingers (or any other form of presentation you choose), then perform a double lift. The spectator now believes that the card that he or she selected jumped to the top.
Second movement
6. Place the double face down again, and this time let the audience clearly see the top card being slid into the middle of the deck. The selected card should now be on top, whereas the spectator has seen (and believes) it is in the middle.
7. Snap your fingers once again and ask the spectator to turn the top card face up. The selected card has once again jumped to the top of the deck.
Third movement
8. Separate the selected card from the rest of the deck, and while the audience looks at it, bring the pack close to your hips to help you turn the top card over, keeping a break underneath.
9. Place the selected card face up on top of the card you just turned over, then turn both face down with a doublelift. Your audience believes their selected card is on top. Make sure to angle the deck in a way that only you are able to see the card that you turned over.
10. Cut the top half of the deck into your left hand and perform a onehanded facedown fan with your right hand. If you are left handed, cut the top half into your right hand instead, and use your left hand for the fan.
11. Place the top card from your left hand into the middle of the fan without fully pushing it in. If you are not already, stand right next to the spectator and ask him or her to push the card in. While they do this, bring the packet in your left hand close to your mouth and hold the top card inbetween your lips or teeth.
12. Bring both packets together and snap your fingers, then turn the top card over. The spectator will see that it is not their chosen card. Keep turning cards over until the spectator notices the selected card held in your mouth.
Ending your routine A powerful way to end tricks is to leave the audience with a souvenir that they may use to remember the trick with. If you had them sign the card, you can give it to them to keep it.
Due to the nature of this routine, it is really easy to adapt it to your own style of magic, so get creative and remember to HAVE FUN!
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