One of the most fascinating facets of magic is the exploration of methods which can be employed to bring about magical effects. Whilst it will be found that generally a simple manoeuvre is more satisfactory than a complicated sleight, there can be no doubt that a knowledge of different methods is a valuable asset when constructing routines. For example, when an effect has to be repeated during a routine, there is less likelihood of the spectators spotting the method if the handling is altered for the second effect.
We all have our own thoughts on what sleights are the most effective; what one person can perform in a natural manner, may look suspicious in another person's hands. It is a question of selecting those methods which suit our own style of performance.
Up to this point in the book, the selection of methods has either been my own or those magicians who have been kind enough to supply material. In every case, the reader should keep an open mind and if it is felt that another method should be tried then so much the better. By putting something of your own into a routine, you will like it all the more and the incentive will be there to give a better performance.
The following descriptions of moves with the box should provide sufficient material for every taste. Certainly enjoyment will be derived by studying them and going over the moves with box and coin (s) in hand. Be careful with your selection; do not use one just because it is clever; make certain that it suits you and that the way you handle it looks natural. Never be tempted to think that because a well-known magician does it that way then you too must accept it as the best - maybe you will do something even better.
Colombini Turnover Move
1. With a coin or coins inside and the lid on, hold the box between the left thumb at one side and the forefinger at the other as in Photograph 1.
2. With the left hand turned towards you, raise the lid slightly with the thumb and allow the box to drop onto the fingers as in Photograph 2.
3. Bring the right hand to the box and in the action of taking it into the right hand, place the right thumb on the bottom edge of the box, causing it to turn over. The right forefinger is brought onto the lid and thumb and forefinger hold upturned box and lid together as in Photograph 3. Notice how the right thumb holds the coin in the box.
By extending the right thumb completely across the bottom of the upturned box, it is possible to shake the box in the right hand and make the coin rattle.
Turnover Move After Gus Davenport
Gus Davenport first showed me how to place a finger under the box to make it turn and it is upon this action which the following is based.
Hold the lid between the right thumb and forefinger with the second finger under the bottom of the box to hold lid and box together -Photograph 1.
With the left hand held palm up, fingers slightly curled, bring the right hand straight down from above in the natural action of placing the box into the left hand at the base of the fingers.
When the box is about two inches from the left hand, let the bottom fall by drawing back the second finger just a little - Photograph 2. The box tilts on the tip of the second finger and is almost turned as it reaches the left palm. The tip of the right second finger helps it right over as the lid comes down onto the now upturned bottom. Simultaneously, the left thumb comes over and holds lid and bottom together - Photograph 3. IMMEDIATELY THE LID COMES DOWN, THE LEFT HAND SHAKES THE BOX TO MAKE THE COIN
RATTLE. This covers any sound of the lid and bottom meeting because the sounds coincide and become one continuous rattle.
The turning action becomes automatic after a little practise and the move is covered by the slightly curled left fingers and the right hand.
It is not difficult but does depend upon synchronising the moves so that they blend into one smooth action. Take it slowly until this can be done then speed up until the pace is the same as would be natural when just placing the box from the right hand into the left.
The urge is to 'get it over quickly' - curb this feeling, relax and be natural.
You now have the coin free under the box, resting at the base of the left fingers. The way in which it is treated from here on, will depend upon the effects needed in the routine.
Variation on Kaplan's Righting Move
In his book THE FINE ART OF MAGIC, George Kaplan explains an effective move for righting the base.
The box (base inverted) with lid on is held between the thumb and second finger of the left hand; the right hand moves over and grasps the lid between the thumb and forefinger - Photograph 1. Now BOTH hands turn over and away from each other simultaneously - Photograph 2, the left hand holding the base which is now mouth up and the right hand holding the upturned lid.
The above is very effective but I wondered if it was possible to have only one hand turn, and came up with the following.
Hold inverted base with lid on between right thumb and forefinger. Bring the box over to the left hand which is held palm up, apparently to place the base on the left finger.
Actually the base is taken between the left thumb (on the left) and the SIDE of the left forefinger (on the right) - Photograph 4. As the right hand lifts the lid and turns over, the left thumb moves to the right bringing the mouth of the base upright. The thumb movement is covered by the movement of the right hand. Try it.
Edward J. McLaughlin's Moves with the Okito Box
When I was editing THE GEN magazine, published by Harry Stanley, the well-known American magician Eddie McLaughlin sent me an excellent contribution for inclusion in Vol. 11, No. 2 (June 1955). In it he described the moves he had devised with the Okito Box, all of which had been shown to Okito himself and had his approval.
Eddie is widely known for his uncanny and original handling of the Okito Box as well as many other coin specialities. He was perhaps the closest friend and confidant of T.
Nelson Downs and is able to duplicate the old Maestro's every sleight and move.
My thanks go to Eddie himself for his original article and also to Supreme Magic Company for permission to republish the material in this book, for it was this Company which purchased the copyright of all GEN material on the retirement of Harry Stanley.
New photographs have been taken to illustrate the text.
1. PLACING THE COVER ON THE BOTTOM OF THE BOX - USING ONE HAND
The box is held in the left hand between the thumb and forefinger, the bottom of the box resting flat on the base of the forefinger and the top joint of the thumb across the lid of the box, (Photograph 1).
The coin is rattled in the box and the spectators can see that the box is closed. The rattling continues as the left hand tilts towards the performer taking the box out of sight momentarily. Now the forefinger bends inwards to hold the box securely as the left thumb pulls the lid off the box and turns it over (Photograph 2) onto the fingers where it comes to rest alongside the box (Photograph 3). Immediately the box is moved over into the lid (Photograph 4) by the thumb which then moves under the box (Photograph 5) and turns it back to its original position as shown in Photograph 1. The rattling is continued again.
It will be obvious that by repeating the same moves, the lid can be placed on the top of the box if required.
2. PLACING THE COIN BETWEEN THE BOTTOM OF THE BOX AND THE LID
A variation of the move described permits the coin from the closed box to be placed be-tween the bottom of the box and the lid.
Holding the box in the left hand as in Photograph 1, it can be turned over with the thumb on to the fingers then the box can be lifted again (Photograph 6), leaving the lid with the coin in it on the fingers. The thumb now levers the box round and slides it, bottom
downwards, into the lid (Photograph 7). Placing the thumb under the lid and box, the whole box can be turned over back to the position shown in Photograph 1.
With the coin in this position the box can be handled freely at the fingertips providing that it is not turned to disclose the opening now at the bottom.
3. VISIBLE PENETRATION OF COIN THROUGH BOTTOM OF BOX
The coin is placed between the bottom of the box and the lid in the manner described.
Holding the box and lid between the right thumb and forefinger it is brought over the left hand which receives the box only, the right thumb and forefinger retaining the lid. The left fingers curl upwards under cover of the right fingers (Photograph 8) causing the box to revolve and the coin to come between the bottom of the box and the palm. The lid is placed on the box (Photograph 9) and the box lifted between the left thumb and forefinger as the second and third fingers close over and hide the coin (Photograph 10) as the hand is lifted. In this position the spectators can see the bottom of the box but not the coin. Now the box is lowered on to the coin and box with the coin beneath it moved to the fingertips. If the box were lifted at this stage, the position would be as seen in Photograph 11 but of course in performance the coin is not shown.
By holding the right hand under the left, the coin can be made to appear to penetrate the bottom of the box (Photograph 12) and fall into the right hand.
4. PLACING THE LID ON THE BOTTOM OF THE BOX - USING BOTH HANDS
The closed box is held in the left hand at the base of the second and third fingers and the coin rattled inside. By turning the left hand over the right (Photograph 13), the box is transferred from one hand to the other leaving the box upside down resting on the right second and third fingers (Photograph 14). The reverse moves are made to return the box to its original position. Once again the box is inverted on to the right hand then back to the left hand but on this occasion, the lid is gripped and retained between the first and little fingers of the right hand (Photograph 15) and immediately the left fingers curl inwards causing the box to revolve on to the palm (Photograph 16). A MOMENTARY GLIMPSE OF THE BOX AT THIS STAGE WOULD NOT DISCLOSE THAT THE LID IS MISSING.
As soon as the glimpse has been permitted, the right hand comes over and, in the action of moving the box from the palm to the base of the fingers, deposits the lid over the bottom of the box. Photograph 17 shows the lid now on the bottom of the box as the right hand is removed.
The box can be drawn off the left hand between the right thumb and forefinger and the coin retained inside by sliding the second finger underneath. In this position the coin can be made to appear to penetrate the bottom of the box by holding the left hand underneath and removing the right second finger (Photograph 18).
5. VARIATION FOR PLACING THE LID ON THE BOTTOM OF THE BOX
The closed box rests on the fingers of the right hand, the bottom gripped between the in-sides of the first and little fingers. By gripping the edge of the lid between the thumb and the side of the first finger, the box can be opened and closed like the handling of a billiard ball and shell (Photograph 19). With the lid and box held in this manner, the right hand turns over and deposits the box and the coin inside, upside down on the palm or back of the left hand, the lid being in the exact position for placing on the bottom of the box (Photograph 20).
6. TRANSFER OF OPEN BOX FROM HAND TO HAND
When the box is open but with the lid on the bottom so that it appears to be closed, and resting on the palm of the left hand, it can be transferred to the right hand in the following manner.
By half closing the left hand and turning it over, the box comes to rest on the cupped
fin-to palm of hand) and deposit the box on the palm of the right hand. Phofin-tograph 22 shows the left fingers depositing the box and turning it as the stroking action is commenced. The same moves are repeated with the right hand to return the box to the left hand.
Although the moves that have been described by no means exhaust the possibilities with the box, sufficient have been given for the reader to have a wide choice and add variety to his routines.
CONCLUSION
The moves with the box seem endless but we must end somewhere and this is it. For those readers who would pursue the matter further then the following sources are recommended.
Mohammed Bey's Routine with the Okito Coin Box - Published by Holden's Magic Shop 1953
COINING MAGIC by Ed Mario - published by MAGIC INC. 1957
THE FINE ART OF MAGIC - GEORGE G. KAPLAN - published by FLEMING BOOK COMPANY 1948
ROBERT GILL'S book MAGIC AS A PERFORMING ART published by BOWKER - 1976, gives all sources where tricks with the OKITO BOX can be found and is highly recommended.
LEWIS GANSON