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Sometime after Ed Mario read the Gombert Pass in The Gen of July, 1966 he developed what he called One Fantastic Move." He remarked to Steve Draun. "Ididnt know what to do with this awful move so I invented this awful trick" Steve, however, saw potential humor in the presentation of the trick and worked on it for some time* Several people, however, commented to him that it really consisted of two fantastic moves (both parts of the Gombert Pass). Steve then applied Bruce Cervon's Invisible Reverse, first published in Genii in 1969 to "One Fantastic Move" and created a better trick. (The Cervon Invisible Reverse also appears in The Cervon File, Magical Publications, 1988.) He then showed it to Mario, who agreed that this was the way it should be done. At some point Mario passed the trick on to Jon Racherbaumer with all the information just described, and it was published in 1980 in The Last Heirophant. Some background details in that description are incorrect: the Gombert and Cervon passes are described as being identical, however the Gombert Pass is a Classic Pass and Center Reverse while The Invisible Reverse is a Herrmann Pass and Center Reverse. Mario is credited with applying the Cervon pass to the trick, while it was actually Steve Draun who did so.

At some point later on, Steve . „ .ot.oo a applied the cover action from his Midnight Shift to Cervon s invisioie xeverbe *u

"One Fantastic Move, along with a funny presentation which does, at long last, make a nice trick out of it.

Turn to the left, so the right side of your body is and make a face-up fan in your left hand. As you The arrange the cards this way: A black King at the rear of the deck a^black Kmg a face of the deck, two red Aces together in the «jWOMh^^^ogged

Spades between the red Aces. The three cards f a few moments to get for clarity as the arrangement is made (Bg.l). It should take you

into position, during which you say in a jaunty tongue-in-cheek manner, "I'm going to take out certain cards for this feat. I've got a black King here (point to the card at the rear of the deck), a black King on the face of the deck, and in the center I've got the two red Aces and the Ace of Spades. Now, I don't know if you saw how long it took me to do all that, but what I'm going to do is to cause this King (point to the rear King) to change places not with this Ace (point to the red Ace behind the Ace of Spades) but with this Ace on the other side (point to the red Ace in front of the Ace of Spades), and this King (point to the card on the face of the deck) to change places not with this Ace (point to the red Ace in front of the Ace of Spades), but with this Ace on the other side (point to the red Ace behind the Ace of Spades), and cause the Ace of Spades, while all of that is happening, to stay exactly where it is, except that it's going to turn over and reverse itself (demonstrate by manually reversing it for just a moment) so it's face down in the face-up deck, and I'm going to do all of that in one, I said, one fan-tas-tic move." While most of the patter is recited quickly, the last three words are said slowly and with great comic gravity.

As you square the deck, obtain a left pinky break beneath the Ace of Spades. You should be in position to do The Midnight Shift (already described), though here the mechanics of Cervon's Invisible Reverse are executed in the middle of it. With your left third and little fingertips, shove the Ace of Spades to the right until its outer right corner is clipped between the right third and litde fingers at the join1

closest to the hand (fig.2, which is a transparent view* tk« ^

card. incidentally, was first published in llTL M^W^ *

Done by Hatton and Plate (see p. 10). y^ans incKs. How They Are

The left fingers now rotate the rear half of the deck tumina it r^ ^ perpendicular to the right-hand cards (fig.3). ^¿TofT ££

againSt 1116 ACe °f Spades iS — ^gof the edge ^jf Uie

By pushing backward with the lower side of the upper packet you can cause the Ace of Spades to lie flatly on top of the lower packet (fig.4). If you now shift the upper

1 ^ YOU ^ SCe y°U « in P°siti°n to execute The Midnight Shift. When you do that, completing the pass as you turn the deck end for end, the audience will see the King of Clubs visibly change into a red Ace This is one of the reasons why Steve favors The Midnight Shift over Cervon s Invisible

Reverse, because the latter sleight would require you to turn the deck face down to execute the sleight. Then, the deck must be turned face up in order to reveal the change to the audience. With The Midnight Shift, the cards change and the magic is immediately apparent—there is no purposeless turning face down of the deck.

Spread out the red Ace at the rear of the deck to reveal its arrival (the audience already sees the red Ace on the face of the deck). Then, spread the deck between your hands to reveal the two black Kings in the center with a reversed card between them. Remove this card and turn it over to reveal the Ace of Spades.


Steve Draun has developed a handling of the classic routine with three glass marbles (or pearls) that he often performs to the delight of laymen, based upon Charles Harrison's routine "Marvelous Marbles," described by Lewis Ganson in his book A Magician Explains (1955). The only things which Steve's routine now shares with the original are the starting position with three marbles in Bosco Palm, and the climactic appearance of a small figurine.

The transposition trick using small glass marbles, of Chinese origin, is found in Edwin Sachs' Sleight of Hand (1877), and it makes extensive use of the mouth, as have most routines using glass marbles since that time. The now classic elements of the plot are followed, with the marbles being magically produced, then jumping from hand to hand and pocket to hand, climaxed by a magical production, wrapped in an original, charming patter story about "flecks of light."

Steve uses three glass marbles, each one is five-eighths of an inch in diameter. While marbles of any appearance can be used as long as they are identical, the patter story goes very well with the way these marbles look: they have a rough surface, are a very light pastel blue-green with an opalescent quality, with flecks of solid blue, green, red, and yellow throughout. The rough surface makes them a bit easier to handle. Place the marbles in a pocket on your right side.

Steve also uses a small plastic figurine of Mickey Mouse for the climax, though you can produce any item you like provided it fits comfortably into your hand and the patter is changed appropriately. The figurine goes into a pocket on the left side.

This routine must be performed "out of the blue," as Steve puts it, or in a seemingly impromptu manner. During the course of some other activity, often while eating or drinking among friends, Steve will begin telling a story and then do the trick.

In other words, it is not presented as a trick per se, but as a story that is being illustrated by magic.

When you decide that the moment is about to arrive to perform the routine, insert your right hand into the pocket containing the marbles and shove three of them into Bosco Palm with the right thumb, wedged lightly into the flesh where the fingers meet marbles are each gripped between different fingers as shown. Bring ™ th^l^T Tu J°Ur P°Cket and Pick UP something, or place something into it.

SLssesoff LiTii.\°J£VnHltCm,.and maintams a natur^ position. Steve takes his glasses off with his left hand and places them into his right hand. You can pick up anything on the table and hold it with your right h.nH

intently, as if the following genuinely happened to i/ou aTa chLd^ **** ***

"When I was in grammar school, I remember sittinn w * seeing a shaft of light come in the window,and notidrL ZV* "IT* T^™ and

Ught. and thinking that those particles were reaUyTerZ^J r^ ^ °fdUSt * the tie light, but they actually permeated the room. Z^a^rea^h?^ *

0/ snowflakes in that every one was differ,% Z^t^ ^ ^^

contained the pnmary colors and many of them were sensitive to certain stimuT T^e your time as you say Aispf the audience believes (as I did, the ftrst rime Ste^ performed this for me) that you are only telling a story, then the appearand of ball and segue into the trick will come as a pleasant surprise.

Toward the end of that speech, place the item held by the right hand aside (or, if a pair of glasses, put them back on). Turn both hands palm down and move them over the tabletop, holding them a few inches above it, as if searching for one of these specks of dust. Stop after a moment and turn your left hand palm up. At the same time, move your right thumb onto the marble between the first and second fingers and shove it forward, toward the fingertips (fig.2). Stop when the marble reaches the center phalange of the fingers. Raise your right hand about a foot directly above your left hand and rapidly toss the marble downward. The instant it lands on your left "and, the hand snaps shut into a fist as you say, "So, for example, heat would cause them to actually grow . . . Just the warmth of my hand ... to many times their original size- Maybe a million times bigger," open your left hand so the ball appears resting on the center of the palm, "and so they would look something like that."

Immediately tilt your left hand forward so the marble rolls to Bosco Palm position *t the fork of the first and second fingers. Spread the fingers slightly so that, once the ball reaches position, you can move them together and grip the ball between them. At ^-same time, your right hand begins moving toward your left hand On the way, the "8ht thumb moves onto the marble at the fork of the second and third fingers; (fig. Execute a Shuttle Pass, your right hand turning partially palm up and your Wt hand Palm down. (Do not turn the right hand too much or youUexTOsethe garbles prematurely.) The right thumb simultaneously shoves the marble beneath it torward, toward the fingertips (fig.4).

Without pausing, separate the hands about a foot, the right hand once again rotating completely palm down, and drop the marble that s between the right thumb and fingertips onto the table from a height of about a foot.

Glance to the right and say, "Look, there's another one, just the heat of my hand

<ses it to grow." Pretend to pick up another fleck of dust with your right hand.

j____ir>tr> a loose fist and. with the right hand, insert tv>«

causes it to grow. ^retena iu pi« " ""u/r", ■ ll<xm]

Close vour palm-down left hand into a loose fist and, with the right hand, insert the newly-found dust fleck into the left thumbhole. Rotate the left fist so that the thumbhole is directly upward.

The right hand picks up the marble from the table and forcefully tosses it into the left fist through the thumbhole. It should strike the marble already in the left hand with a loud click. Say, "Did you hear that? Look—I've got two of them now." Turn the left hand palm up and open it. At the same time, the left thumb moves onto the marble at the fork of the fingers and pulls it inward so that the audience is presented with the picture of two marbles on the palm.

After a moment, tilt your left hand forward so one of the marbles rolls to Bosco Palm position at the fork of the first and second fingers. Execute the Shuttle Pass as already described and shown in figures 3 and 4, though in this case one of the two marbles will actually fall into the right hand. Don't forget, before your right hand turns, to roll the marble that is currently Bosco palmed at the fork of the right third and fourth fingers toward the fingertips.

The left hand turns palm down and the right hand turns palm up (completely, this time). Two marbles will be seen on the right hand, which immediately turns palm down and drops them onto the table one at a time as you say, "One, two."

Say, "And there's still another one." Pretend to pick up another fleck of dust with your right hand. Close your palm-down left hand into a loose fist and, with the right hand, insert the newly-found dust fleck into the left thumbhole. Rotate the left fist so that the thumbhole is directly upward. The right hand picks up one of the marbles from the table and forcefully tosses it into the left fist through the thumbhole. It should strike the marble already in the left hand with a loud click.

Say, "The heat from my hand causes it to grow." Turn the left hand palm up and open it. At the same time, the left thumb moves onto the marble at the fork of the fingers and pulls it inward so that the audience sees two marbles on the palm. Dump both marbles into the right hand, simulating a Shuttle Pass. The right hand drops both on the table, one at a time, as you say, "These are very real and this is actually happening." All three marbles have now been produced.

Say, "Now the best part about it was, since I was a kid, I could lose one of them and only have two. Pick up one of the marbles with the right hand and insert vour hand

CileX nXTa T^H ^ hand 1S OUt of ^ssic palm the mrf*-

r^VtaMety hand -o marbles which remain maST^^JS^^l^ °f POCket" U " » t0Td left b ana picks it up between the thumb and second finger. The U»

hand picks up the marble on the left in an identical manner. The thumbs roll the marbles around on the tips of the second fingers (fig. 5) and it appears that the hands are otherwise empty. The Malini Subtlety hides the classic-palmed marble in the right hand (shown by a dotted line) from the audience.

The right hand begins to close into a loose fist and the thumb rolls the marble into Bosco Palm at the fork of the second and third fingers. Once the right hand has closed, it rotates so the thumbhole is upward. The left hand places its marble into the thumbhole so that the marble remains there, in thumb palm position. All three marbles are now isolated in different spots in the right fist (fig.6, which is an x-ray view, and fig.7, which is an exposed view with the fingers open slightly).

Say, "Still, because they were so plentiful, I could find another one and now there's three of them." The left hand picks up an imaginary dust-fleck from the table and pretends to toss it into the closed right fist through the thumbhole. At the moment of impact, allow the thumb-palmed marble to drop down into the fist and click against the

Bosco-palmed marble. Open the right fist to display three marbles, pulling them onto the right palm with the thumb as the hand turns over. Turn the right hand over and dump all three marbles onto the table.

Pick up one of the marbles with the left hand and place it into the left trouser pocket. As the left hand ls entering the pocket, the right hand picks up a second marble and Places it into the right trousers Pocket. Both marbles are released

once the hands are inside the pockets. The left hand immediately closes around the figurine and lingers in the pocket for a moment.

The right hand comes out of the pocket and picks up the marble which remains on the table. Do this with the curled first finger and thumb, the other fingers awkwardly closed into a fist. The hand should have a contorted and suspicious look to it. This draws attention away from the left hand, which now comes out of the pocket in a loose fist.

Say, "It didn't make any difference because even if I misplaced two of them and got down to my last one, still, I could find another particle. ..." The right hand places the visible marble into the thumbhole of the left fist. The left thumb slides over the marble so it is thumb palmed.

Then, the right hand picks up an imaginary dust-fleck and, for the first time, opens fully so the suspicion that it contains something is alleviated. Place the dust fleck into the left fist and continue, . . put it into my hand, and the heat of my— this one's kind of small It's kind of cute, though. Would you like to see what he looks like? He's kind of small, really kind of Mickey Mouse. That's what he looks like. The left hand descends and opens just enough to place the figurine on the table, the marble remaining concealed in thumb palm (fig.8). Lift the left hand to reveal the figurine. Later, put 8 v<the figurine away and, with it. tlu palmed marble.

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