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GANSON'S MAGIC TEACH-IN SERIES
A new look at the –
OKITO BOX
Lewis Ganson with Okito - Chicago 1956
WRITTEN AND PHOTOGRAPHED BY
LEWIS GANSON
CONTENTS CONTENTS .............................................................................................................................................. 4 INTRODUCTION ................................................................................................................................... 5 THE BASIC MOVES ............................................................................................................................. 7 THE OKITO TURNOVER MOVE ................................................................................................. 7 THE TOSS FROM HAND TO HAND ......................................................................................... 9 RIGHTING THE BOX ...................................................................................................................... 9 BLU-TACK.......................................................................................................................................... 10 SOME BASIC EFFECTS.................................................................................................................... 11 Coin through Box and Hand.................................................................................................... 11 Coin through Card ........................................................................................................................ 12 Repeat Penetration through Card........................................................................................ 13 MAGNETIC COINS............................................................................................................................. 15 TWO TIMES TEN ................................................................................................................................ 17 STAGE ONE THE 2p PENETRATES THE BOX AND CIGARETTE PACKET.......... 18 STAGE TWO THE 10p PENETRATES THE BOX AND CIGARETTE PACKET ...... 19 STAGE THREE CLIMAX - THE 10p VANISHES AND IS FOUND IN THE BOX 20 BOX CLEVER......................................................................................................................................... 23 SYMPATHETIC OKITO ..................................................................................................................... 27 BOSTON TWO STEP ......................................................................................................................... 33 ADDITIONAL MOVES WITH THE OKITO BOX .................................................................... 36 Colombini Turnover Move ........................................................................................................ 36 Turnover Move After Gus Davenport................................................................................. 37 Variation on Kaplan's Righting Move ................................................................................. 38 Edward J. McLaughlin's Moves with the Okito Box .................................................... 39 CONCLUSION....................................................................................................................................... 45
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A NEW LOOK AT THE OKITO BOX INTRODUCTION It was in Chicago in 1956 that I first had the pleasure of meeting OKITO (Theodore Bamberg). Assuming that many magicians who met him would mention the Okito Box and expect him to perform, I avoided the subject but was delighted when he brought the conversation round to it and 'just happened' to have one with him. Although the circumstances were such that a personal demonstration was out of the question, because people kept coming to talk to us, we were able to discuss its concept and the extension of its uses which he and others have evolved since he first had the basic idea. In 1911, Okito was in partnership with Joe Klein in a magic shop on Broadway, New York. Joe suffered from indigestion and kept his boxes of pills in a drawer in the shop. Okito often handled the pill boxes and noticed that the lid would fit on both bottom and top and in each case, the box looked the same. He had some made up in metal instead of cardboard, of such a size as to take coins and so the OKITO COIN BOX was born. Since they were first marketed by the Bamberg Magic and Novelty Company, dealers all over the world have manufactured and sold these boxes. Different ideas have been incorporated, such as weighting the bottom to make it turn over easily. Other variations have been made in the design of the box itself but it is the simple pill-type box with which we will be mainly concerned. It is just a metal box with a loose (very loose) fitting lid; there are no secret compartments and there is nothing to hide, so it can be freely handled by spectators if necessary. The trickery stems from the handling by the performer and, on occasions, from other articles used. As far as I can recollect, it was about 1936 when Gus Davenport first showed me a complete routine with the box and explained the method he used for THE TURNOVER MOVE. Capt. Charles Kettle also had a hand in educating me in its use. Since then, I have had the opportunity of studying methods by many of the world's finest exponents and their work forms the basis for this book. One of the cleverest exponents of the Okito Box was S. Leo Horowitz (Mohammed Bey), whose routine with it was published by Holden's Magic Shop in 1953. This was edited by John J. Crimmins Jr. and illustrated by Norman J. Howe. So many magicians have either used this routine as written or altered it to suit their own needs that Horowitz must be credited with starting a new vogue in performing with the Okito Box. Indeed it would be difficult to cite any one modern routine, the conception of which was not influenced in some way by Horowitz. In my opinion, the greatest advance in the effects which can be obtained with the box since Okito first had the idea, are not due to any alterations to the box itself or moves performed with it, but in coins which have been gimmicked; originally for other tricks. Credit must go to Robert Swadling for making a non-magnetic coin become magnetic, for
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these coins, which the eye cannot detect as being other than genuine, have opened up a new field of magic, particularly when employed in conjunction with the box. The basic effects which the box makes possible are that a coin or coins either vanish from the box or are found in it after it has previously been seen to be empty. It is the routining which enables so many variations to be produced.
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THE BASIC MOVES If the lid of the box is placed on the top or the bottom, the outward appearance is the same and it is upon this characteristic that the trickery depends. So if, say, a single coin is placed in the box and the lid put on in the usual manner, then a move has to be made to secretly invert the bottom of the box under the lid. This will bring the open mouth of the box downwards for the coin to fall free. This action is generally known as THE TURNOVER MOVE. Obviously, the bottom has to be secretly righted again after the coin is stolen and this is often referred to as RIGHTING THE BOX. Later on in the book, various methods are given for performing these moves but to avoid confusion, the simplest methods will now be explained. THE OKITO TURNOVER MOVE Magicians enjoy performing clever moves to bring about a certain result and before experience teaches us that it is the effect that is all important, the mistake can be made of employing a move just because its cleverness is intriguing. At one time or another, I must have tried almost every method devised for making the Turnover Move (most have something to commend them) but for simplicity and effectiveness, what is regarded as the original is difficult to fault, PROVIDING IT IS MADE UNDER COVER OF ADEQUATE MISDIRECTION - but then this is necessary with any method. One must agree with the reasoning of S. Leo Horowitz that the first essential is that the spectators must see the lid placed fairly on the box, the turnover move being delayed until after this has been established. A pen or pencil is a handy accessory to use in a routine, to tap the box, etc., so this can be used as an aid to misdirect attention. Have the pencil in the breast pocket and the coin in the box which is on the table with lid on. Now study the following actions. Take off the lid with the left hand, pick up the box with the right hand, tip out the coin onto the table then tap lid and box together. Place the box on the table, pick up the coin with the right hand, drop it into the box then put on the lid. With the right hand, take the pencil from the pocket and as this is placed onto the table forward of the box, ask a spectator to take it into his hand. Your right hand moves back, picks up the box and as the pencil is picked up, the box is placed into your left hand in the following manner. The right hand has picked up the box from the table with thumb at one side and forefinger at the other. It places the box with the bottom resting on the top joints of the left middle fingers - Photograph 1. The right thumb and forefinger relax their grip on the bottom of the box and now hold the lid only. The left hand is lowered just a fraction, the 7
lid being now free of the box. Simultaneously, the left fingers curl inwards causing the bottom to revolve under the lid - the right fingers give adequate cover to the curling left fingers - Photograph 2. As the bottom becomes inverted, the right hand moves the lid in line with it and the left hand is lifted a fraction causing bottom and lid to come together. Now the left thumb moves across and holds lid and bottom together (Photograph 3) for the right hand to move away.
The whole action is covered from the front by the right hand but should anyone glance downwards from above, all they see is the box placed on the left fingers then moved back for the left thumb to clip it. The lid (which is all that is seen) only moves back, not up and down so the action is natural. Practise until the moves can be made smoothly and automatically. The whole thing takes but a second and attention is directed away from the box onto the pen or pencil which has momentarily become the important object. The performer's eyes are oh the pencil not on the box. Immediately the left thumb clips the box, the hand can be shaken to cause the coin to rattle. Other methods for making the Turnover Move will be described later and the reader can then decide which he prefers.
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THE TOSS FROM HAND TO HAND It will be remembered that after the TURNOVER MOVE has been made, the position is that the inverted bottom of the box is at the base of the left fingers and thumb on top of the lid with the coin free underneath. The hand is being shaken to cause the coin to rattle. It is now possible to toss the box from the left hand into the right without the coin falling out or being exposed. Simply toss it from left to right, holding the right hand just a little lower than the left and lowering the right hand a trifle the instant the box lands on the fingers. This cushions the box and prevents it bouncing. Immediately the box is caught, bring the right thumb on top of the lid and continue rattling the coin by shaking the right hand. The move is easy and does not require much skill as it is more of a knack than any clever move. It should be made in a casual, offhand manner appearing as a convenient way for freeing the left hand so that it can pick up an object, go to the pocket to bring out, say, a cigarette packet, etc. RIGHTING THE BOX The time comes when the coin has been secretly carried away to produce the effect needed and it is necessary to reverse the bottom of the box so that this can be shown empty. There are several methods for doing this but the one I favour seems to me to be the easiest and most natural in appearance. Hold the box by the lid between the right thumb and forefinger, the second finger being under the inverted base to hold box and lid together - Photograph 1. With the hand about three inches above the object on which it is to fall (a card case in the photographs), move the second finger back, releasing the inverted base which falls from the lid - but because the tip of the second is at the back of the rim, the base tilts and turns over in the air to land the right way up - Photograph 2.
A few trials will determine the distance the box has to be held above the object on which it is to land for it to fall correctly. Once the knack has been acquired then it is sure-fire and very easy. 9
Actually you may wish to drop the base from the box in the right hand onto the left palm. This is somewhat easier as the base is cushioned by the palm and does not bounce. Watch the move in a mirror and you will be convinced of its effectiveness. The turn in the air is not noticeable and the illusion of just dropping the bottom is perfect. As we proceed, we will study various ways those moves are used in routines, then their true worth will be appreciated. BLU-TACK In some routines it may be desirable to attach a coin to another object and in the past, various substances referred to as "Magicians' Wax" were used. There is a product now on the market called 'Blu-Tack' manufactured by Bostik. This can be obtained from most stationers' shops as it has many uses in offices. It is a substance somewhat like plasticine, in that it is pliable but is more adhesive. A tiny spot (just a little larger than a pin head) pushed on to the back of a playing card, cigarette packet, etc., will enable a coin to be firmly attached to it, yet will permit it to come away cleanly when required. This is a most useful product for the magician and is mentioned at this point because it can be utilised to advantage in many routines with the Okito Box. The 'blurb' on the packet: "A slab of blue that acts like glue" is correct and as it is re-useable, a little goes a long way.
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SOME BASIC EFFECTS Routines are built up from basic effects, variations being introduced to enhance the magical content and add novelty. On their own, these single effects, whilst excellent, are over quickly and can be regarded as a puzzle, so it is essential to take a number of them and perform them in a sequence, so providing a routine of such a length that it will hold the interest of the spectators and, most important, ENTERTAIN them. First let us study some of these basic effects, using the simple moves described previously, to bring about a happening which appears magical. Coin through Box and Hand Maybe this was the first effect devised by Okito as it makes use of the basic moves in a logical sequence. Show the box, have a coin placed inside and the lid placed on by a spectator. Hold the box in the right hand and as it is taken into the left hand, make the TURNOVER MOVE. Rattle the coin then toss the box into the right hand and back into the left. Reach over with the right hand to grasp the box with the right thumb and forefinger. As the box is lifted, turn the left hand towards the body, keeping the coin in the left finger-palm position by curling the fingers inwards - Photograph 1. The actions of lifting the box and turning the left hand must be timed so that the coin is hidden by the right fingers and the turning left hand.
Place the box on the back of the left hand. Now tap the top of the box (Photograph 2) and simultaneously release the coin from the left fingers. The coin falls to the table having apparently penetrated both the box and the hand. Lift the box with the right hand and make the RIGHTING MOVE, letting the base revolve and fall mouth-up onto the table.
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This move can also be made with several coins, sufficient to fill the box, then all the coins together apparently penetrate the box and hand. Coin through Card In addition to the Okito Box and a coin, have a playing card on the table. Have a spectator put the coin in the box and place the lid on. Pick up the box in the right hand and as it is taken into the left, make the TURNOVER MOVE. Rattle box, etc. Holding the box between the left thumb and forefinger, with the second and third fingers under the box, pick up the card with the right hand. Now, with the left thumb, swivel the box up and away from the second and third fingers, leaving the coin on those fingers. Simultaneously, bring the edge of the card between coin and bottom of the box from the back, (Photograph 3) and slide it forward between coin and box. Bring the left thumb to the top of the box, holding it on the card.
The position now is that the box is on top of the card, held by the left thumb and the coin under the card held by the second and third fingers. The top of the box can now be tapped and the coin released to fall to the table having apparently penetrated the box and card. By making the RIGHTING MOVE, the box is shown empty.
A nice alternative is to make the coin fall into a glass tumbler. To do this, make the moves described until the point is reached where the box is on top of the card in the left hand 12
and the coin underneath. Now take the card into the right hand, the right second finger going underneath to hold the coin and pulling it to the right, nearer the right end of the card - Photograph 4. With the tumbler mouth-up on the table, rest the card GENTLY across the mouth, the coin being trapped between the rim of the glass and the card. Tap the box to cause the coin to fall into the glass then proceed as before. Repeat Penetration through Card In his routine, Horowitz has a very subtle method for repeating the penetration which can be adapted for use with a single card, a card case or a cigarette packet. A duplicate coin is used and this is either held under the card by the left second finger or can be attached to the underside with BLU-TACK. After making the TURNOVER MOVE, the box is placed on top of the card. By tapping the box and releasing the bottom coin, the first penetration takes place. Now, with the card resting across the left fingers, the box is lifted by the right hand AND SIMULTANEOUSLY THE LEFT FINGERS ARE CURLED INWARDS TOWARDS THE PALM Photograph 5. This causes the coin to slide down the card onto the palm, the card turning over and covering the coin. All takes place under cover of the right hand, the appearance being that the card has been turned over to show the other side.
The right hand makes the RIGHTING MOVE allowing the bottom of the box to fall to the table. Next the visible coin is picked up, placed in the box and the lid placed on. The box is placed on the top of the card without the Turnover Move being made. By tapping the box and releasing the coin under the card, the second penetration takes place. A subtle move for apparently showing the box empty, is to lift it with the right hand then bring the left hand to the bottom. The right hand removes the lid and turns it over and simultaneously the left hand turns the bottom over towards the body BUT THE PAD OF THE LEFT THUMB IS INSERTED TO PREVENT THE COIN FALLING OUT Photograph 6. By reversing the moves, the lid is replaced.
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It is a series of casual moves - don't try to prove anything - the actions speak for themselves. You are now set for vanishing the visible coin then when the box is opened, the coin will be found inside. Readers who have studied the sequence in the Horowitz routine will realise that alterations have been made in the handling in this description. The reason is that with the advent of magnetic coins, the effects obtained can be made even more magical and the method of handling given permits the use of the new coins. As we proceed with the description of the routines, this will be clear.
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MAGNETIC COINS The clever idea and excellent workmanship which has enabled a coin which is normally nonmagnetic to become magnetic, has opened a new field in producing magical effects with the Okito Box. As far as I am aware, it was Robert Swadling with his 'Swadling Swindle' who first produced the modern magnetic penny - i.e. a penny which has been gimmicked in such a way that some magnetic material has been inserted into the centre of the thickness of the coin itself. The workmanship is such that the eye cannot detect that the coin has been tampered with so it can be handled without suspicion being aroused. Eddie Gibson of Preston has manufactured several different coins employing this principle. Here are a few of the many ways in which these coins can be employed in an Okito Box routine. First with two identical magnetic coins - l0p pieces and 2p pieces are available and I feel sure 50p pieces are being made. Magnetic coins of other countries are also manufactured, so overseas readers can substitute their own coinage. 1. If one coin is in the box, a second coin will cling to the bottom. The box can be handled with the fingers at the sides and the lid removed to show the coin inside. By tapping the box, the coin on the bottom will be dislodged -apparently it has penetrated the box. 2. With one coin in the box and the other resting on top of the lid, the box can be turned slowly to show it from all angles. Because the box is inverted in this process, the coin inside will now cling to the inside of the lid. When the box is brought upright and the lid removed, the base is seen to be empty. When the lid is replaced, and the coin on the top of the lid removed, the duplicate coin will be released and will be back in the base. Bob Gill developed this move for use in his routine described in this book. 3. A playing card or visiting card is often used with the Okito Box. (a) If one coin is on top of the centre of the card, a second coin will cling to the underside. This enables the card to be handled by the edges. (b) The base of the box with a coin inside can be placed on the centre of the card. Now the duplicate coin will cling to the underside of the card. (c) Say one coin is above the card and a duplicate is clinging to the underside, the visible coin can be covered with either the lid or the inverted base. A tap on the box will cause the bottom coin to be dislodged and fall - an apparent penetration. Now the card is placed on the outstretched fingers of the left hand. The right hand begins to lift the cover and simultaneously the left fingers bend inwards, causing the card to turn, the coin sliding onto the palm and being covered by the card as it turns completely over. The cover is tossed aside.
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The above moves were those used with ordinary coins by Horowitz in his routine and are even more effective with magnetic coins. For photographs of the move see Bob Gill's routine BOX CLEVER. 4. Eddie Gibson makes a coin which he calls Coin Unique. This is a shell l0p piece which looks perfectly normal when it is head side up. Into the recess fits a 2p piece which has the matching tail side of the l0p on its underside. When the coins are side-by-side, they look perfectly ordinary - a l0p and 2p. Both shell and insert coin are magnetic so when the l0p is placed over the 2p, they nest perfectly and become a l0p which can be freely handled and examined on both sides. The workmanship is so good that a spectator can give it the closest scrutiny. One has to know the method for parting the coins as they hold together firmly and one must acquire a certain knack for freeing the coin from the shell. Some time after I had purchased the coin, I found a lovely move for use with the Okito Box. First the 2p is shown and placed in the box, now the l0p is placed on top then the box is held mouth-up between the right thumb at one side and the first finger at the other. If the hand now makes a slight circular motion, the coins nest automatically - in short, the 2p vanishes completely! How the above is used in a routine will be explained later but here is an interesting variation. I showed the move to Eddie Gibson but he had also been working on similar lines. He first drops an ordinary l0p into the box then the 2p, the shell going in last. Apparently, the 2p has been placed between two l0p pieces - like a sandwich. Now the 2p vanishes from between the other two coins! 5. That clever Dutch magician J. VAN RINKHUYZEN (RINK) sent me a sample of a magnetic substance which can be used by magicians in their routines with the OKITO BOX. This is a coloured plastic sheet about six inches square. The coloured side is nonmagnetic but the underside is magnetic, so is ideal for use with magnetic coins. A piece cut to the size of a playing card makes an ideal object to rest the box on etc. - for the coin to penetrate. Indeed the moves described with a playing card, cigarette packet etc., can now be performed even more effectively as a coin will cling to the underside without the need of having a magnetic object on the other side. At the time of writing this 'magnetic plastic' can be purchased from ADVA SERVICES, 49 LEXINGTON ST., LONDON, but try your local 'model' shop.
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Routines Many routines with the Okito Box have been published in books and magazines and it is not the intention to duplicate them here. The purpose is to set down those which will be new to the reader, particularly when they employ the new developments which have taken place over the past few years. Obviously, there are certain basic moves which because of their fine magical content, have become standard and are included, yet even these may have had certain little alterations made which make them either easier to handle or more effective. It is inevitable that this should be so, for magicians are constantly striving to improve their performances and even a small variation might prove of great value.
TWO TIMES TEN Here is a routine I have been using which eliminates most of the standard Okito Box moves by the introduction of magnetic coins. The reader will see how these new coins enable effects to be obtained which were not possible before the coins were manufactured. By studying the addition at the end of the routine, it will be seen how these new coins can also be used in conjunction with the older methods - the coins themselves being an extra aid to produce more effective magic because they allow a more natural form of handling. The effects obtained are mainly the penetration of two coins, a 2p and a l0p, through a cigarette packet, and as the heading of each phase describes the effect produced, the reader should find everything easy to understand. REQUIREMENTS. A 'Coin Unique' - this is a coin manufactured by Eddie Gibson, consisting of a shell l0p and a coin which is a 2p on one side with the other side of the l0p on the back. The shell and 2p/10p are magnetic and nest so surely that when the 2p side is in the shell, the coin cannot be detected by appearance as other than a l0p. Indeed the coin can be handled by a spectator as the magnetic attraction keeps the parts so securely together that it takes a certain knack to get them apart. As they must be apart at the start, hold the l0p head side up by the edge, the right thumb at one side and the forefinger at the other. Now hold the left hand palm up and strike the heels of the hands together. It takes quite a firm strike of the hands to dislodge the 2p/10p, which will then fall onto the left palm. Also needed are a matching l0p and 2p, a cigarette packet, some BLU-TACK, a pen or pencil and of course the OKITO BOX. SET-UP. I use a small box which originally held a pair of cuff-links. This contains the Okito Box plus the Coin Unique in its parted state -that is, it appears as a 2p and a l0p. This container is in the jacket pocket on the right side.
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The duplicate coins are attached, one at each end, to the underside of the cigarette packet by BLU-TACK. This is in the jacket pocket on the left side. The pencil is in the breast pocket. Refer to Photograph 1 which shows the articles revealed in an 'exposed' state, the Coin Unique showing the recess in its shell.
STAGE ONE THE 2p PENETRATES THE BOX AND CIGARETTE PACKET 1. Take the container from the jacket pocket on the right. Open it and take out the Okito Box. Take off the lid and tap box and lid together then place the base of the box on the table with the lid alongside. 2. Take out the 2p/10p with the 2p showing and place in the box, lifting the box with the right hand and holding it forward to let the spectators see the 2p in the box. Next take out the shell, showing as a l0p and place this above the 2p in the box. Hold the box forward for the spectators to see the l0p in the box - Photograph 2.
3. Make a gentle circular movement with right hand, as if gently causing the coins to rattle against the sides of the box. Actually this ensures that the coins nest, the magnetic properties keeping the parts firmly together. Place the box on the table and put on the lid.
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4. Remove the cigarette packet from the left jacket pocket with the left hand, holding it by the edges and taking care that the coins on the underside are not exposed. Place this on the table (a cloth or close-up mat prevents the coins 'talking'). 5. Pick up the box and place it on the cigarette packet then lift the packet with the left hand, the thumb at one side and the forefinger at the other. Take the pen from the breast pocket with the right hand and tap the top of the box - Photograph 3. SIMULTANEOUSLY, the left second finger momentarily reaches under the box and dislodges the 2p which falls to the table.
6. With the right hand, take the lid off the box and place it on the table. Lift the box and tip the l0p out onto the packet - Photograph 4. Place the box on the table and with a flip of the left hand, toss the l0p onto the table. Place the packet down.
STAGE TWO THE 10p PENETRATES THE BOX AND CIGARETTE PACKET 7. Pick up the 2p and place it in the pocket then ask a spectator to pick up the l0p, place it in the box and put on the lid.
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8. Place the closed box on the packet, pick up the packet in the left hand, thumb at one side and forefinger at the other. Pick up the pen and tap the top of the box. Simultaneously, dislodge the l0p off the bottom of the packet with the left second finger Photograph 5.
9. Place both packet and pen down on the table. With the left hand, lift the box and as the right hand moves over to remove the lid, tilt the base over, inserting the left thumb to prevent the coin falling out, as in Photograph 6. Tilt the base upright again and place on the lid. The above is a bold move which should be performed at an unhurried pace but without pause -do not try to PROVE the box to be empty - the actions speak for themselves. Place the box on the packet then pick up the l0p with the right hand.
STAGE THREE CLIMAX - THE 10p VANISHES AND IS FOUND IN THE BOX Now the l0p is vanished and the method I use is as follows. 10. Pick up the coin between tips of the right thumb and forefinger and bring it over the left palm as in Photograph 7 - exposed view. 11. As the left fingers begin to curl inwards over the coin and the right thumb and forefinger the second and third fingers clip the coin between them - (Photograph 8, exposed view), then the right second and third fingers bend into the right palm carrying the coin to the right as in Photograph 9 - exposed view.
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12. The closed left hand moves to the left, freeing the right thumb and forefinger which are seen to have no coin between them - it MUST be in the left hand! Do not try to palm the coin, just leave it clipped between the right second and third fingers. 13. Pick up the pen between right thumb and forefinger and tap the left hand, opening the left fingers to show the hand empty. 14. Ask a spectator to take the lid off the box and as he does so, place the pen in your pocket, so disposing of the coin. 15. Have the coin tipped from the box -CLIMAX! The reader will see that in the above routine, the usual OKITO BOX moves (the Turnover Move and Righting the Box) have been eliminated - possible because the trickery is accomplished by use of COIN UNIQUE. When building his own routines, the reader may wish to incorporate some standard moves - a combination of both old and new methods enables some fine effects to be obtained, so as an example, here is how an additional effect can be built into the above routine. Refer back to STAGE TWO. Perform 7 but instead of placing the closed box immediately on the packet, make the TURNOVER MOVE so that when you place the box on the packet, the base has been inverted. Now make the penetration as described by dislodging the l0p from the underside of the packet. 21
Place the packet across the left fingers and as the box is lifted by the right hand, make the Horowitz Move by curling the left fingers inwards, causing the packet to turn over onto the left palm. The coin slides down the packet as in Photograph 10 (exposed view) and is covered by the packet.
Now holding the duplicate coin under the packet with the left second finger, make the RIGHTING THE BOX MOVE from the right hand, letting the base fall from the lid to come mouth-up onto the packet as in Photograph 11.
Place the visible coin in the box and put on the lid. Tap the box with the pen and release the coin from the underside of the box by shifting the left second finger. Continue with 9 of STAGE TWO then finish with STAGE THREE.
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BOX CLEVER BOB GILL Those magicians who possess Bob Gill's excellent book MAGIC AS A PERFORMING ART, will appreciate that he has studied magic to a degree which few others have the dedication to equal. The book has rapidly and deservedly become the standard reference work on books and pamphlets on magic published over the past 40 years and selects from the vast range of material those items of particular merit. The book should be in the hands of every performing magician as not only is it a bibliography of contemporary conjuring literature which provides the information to trace almost every magical effect and method but is written in such an interesting style that it is a pleasure to read. It has been my pleasure to have had many magical 'sessions' with Bob and each time he has had many outstanding originations to show me, so I was delighted when he consented to allow his routine with the Okito Box to be published in this book. It is a routine with a plot which is easy to follow; the methods used are clever without giving the impression that the effects are brought about by skill; indeed it is a delightful routine to perform and to witness, the accent being on MAGICAL ENTERTAINMENT - a feature which Bob achieves in all his performances. The effects produced will be apparent as we proceed so let's get right down to business. The text is taken in the main from Bob's Lecture Notes, to which I have added photographs REQUIREMENTS. 1. An Okito Box. 2. Two identical magnetic coins – Bob uses 10p pieces. 3. A business or playing card. 4. A shot glass or small tumbler. SET-UP. One magnetic coin in left jacket pocket. Okito Box with duplicate magnetic coin INSIDE in same pocket. Visiting or playing card in breast pocket. The glass is mouth up on the table. WORKING. 1. Place left hand in pocket and get the loose magnetic coin in the finger-palm position as you remove the box. 2. Take off lid with the right hand then tip out the other coin leaving base, lid and coin on the table.
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3. Remove card from breast pocket with the right hand and take it into the left hand secretly covering the duplicate coin now on the open left palm. 4. Pick up the coin from table and drop it on top of the card, over the hidden coin which will now cling to the underside of the card -Photograph 1.
5. With the right hand, take the card by the edges and rest it over the mouth of the glass so that the coin is in the middle - Photograph 2.
6. Cover the coin with the lid (Photograph 3). Tap the lid to cause the coin on the inside of the card to fall into the glass. Apparently the coin has penetrated the card.
7. With the right hand, lift the card from the glass (crimping the card to hold the weight of the lid) and place it across the left fingers. Begin to lift the lid with the right hand and
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as you do so, flip the card over sideways with the left fingers (Photograph 4) onto the palm where it conceals the coin. This is the Horowitz move explained previously.
8. Take the card into the right hand, the fingers extending underneath to secretly hold the coin against the underside. Drop the base of the box onto the card, over the hidden coin. 9. Ask a spectator to tip the coin from the glass into the box and place the lid on. 10. Rest the assembly over the mouth of the glass as in Photograph 5. Thanks to magnetism, the concealed coin clings to the underside of the card.
11. Tap the box and the coin penetrates box and card under test conditions! 12. With the right hand, lift off the card -crimping it and so balancing the box. Slide the box into the left hand as you nonchalantly show the card on both sides. 13. Tip the coin from the glass onto the box in the left hand. Tap the top of the box with the coin to emphasise its solidity. Rest the coin on the lid - Photograph 6. 14. Pick up the box in the right hand and invert it SLOWLY to show the bottom - Photograph 7. SLOWLY turn the box upright then lift the lid to show the empty interior of the base; the second coin rests against the underside of the lid, held by magnetic attraction because of the coin on top! Photograph 8 - exposed view.
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15. Replace the lid sharply, dislodging the coin inside then slide the visible coin off the top of the box. Invert the glass over the box on the table - Photograph 9.
16. Now vanish the visible coin, preferably by a 'complete' method - sleeve, lap, etc. You can use the 'coin fold' method which is very effective. 17. Have a spectator lift the glass and open the box to find the coin inside - Photograph 10. If the reader will go through the moves, handling the props as described then he will appreciate just how simple Bob has made every action. The routining is so good that as one phase finishes, the hands are in exactly the right position for the next one to commence. The use of the two magnetic coins eliminates sleights which would be otherwise employed and allows the handling to look so 'clean'. A great routine.
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SYMPATHETIC OKITO ALDO COLOMBINI I was delighted to receive this fine routine from my good friend, ALDO COLOMBINI. It uses so many excellent ideas and makes possible a new and thoroughly practical way for performing the ever popular Sympathetic Coins as it was called in T. Nelson Downs' 'Art of Magic' or 'Migratory Coins', to give it the title in Hilliard's 'Greater Magic'. Aldo has the knack of 'ironing out' any difficulties in a routine; he eliminates complications and brings about stunning effects under the guise of natural actions. The method he uses for turning over the Okito Box on the table (an adaptation of a move by Ali Bongo) is a real gem and I predict that this will become a valued addition to the knowledge of all performers who use the Okito Box. I have taken the liberty of altering the handling just a little in the explanation - not all magicians are able to sit down when performing close-up; conditions are often such that one has to stand. Aldo uses a move which has to be performed seated so I substituted this move for another which makes it possible to use the routine under any conditions. However, I will also give Aldo's move at the end so that the reader has a choice. EFFECT. Four coins are tipped from an Okito Box and three of them placed one at each of three corners of close-up mat. The fourth coin is placed in the box. A Jumbo card is placed over one coin then the other two visible coins magically join the first coin. Finally the fourth coin leaves the box and joins the other three. REQUIREMENTS. An Okito Coin Box. Four coins - fifty-pence pieces have been used in the photographs. One Jumbo card. A close-up mat. SET-UP. Place the Jumbo card on the close-up mat to the right and the four coins in the box. The set-up for starting the performance is shown in Photograph 1.
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PERFORMANCE. 1. Open the box and tip the four coins onto the table, placing them in a horizontal row in the centre of the mat. Place the box to the right of the row BUT REST THE LID SO THAT ONE SIDE IS ON THE TABLE AND THE OPPOSITE SIDE ON THE BOX - Photograph 2 shows this position.
2. Pick up the coin on the right and drop it into the box, leaving the lid resting on the edge of the box as before. 3. Now comes a beautiful move which is simple to perform but depends upon an almost simultaneous action of both hands for the necessary misdirection. The LEFT hand moves to the coin on the extreme left and slides it up to the left outer corner of the mat. As this happens, the right hand goes to the box, the SECOND FINGER rests on the side of the box furthest from you and the thumb on the lid -Photograph 3 - insert A. Pressure by the second finger causes the box to tilt and come upright; the thumb pressing the lid onto the BOTTOM of the box (Photograph 3, insert B). The final position is seen at C, the box now resting on the right fingers. In the photograph, the left hand has been omitted for clarity but remember - both hands work almost at the same time, attention being drawn to the left hand as it moves its coin to the top corner - so actually the left hand begins to move a fraction of a second before the right hand then the actions are simultaneous. 4. Toss the box from the right hand into the left; the coin will not fall out. Practise this move; it is not difficult but must be done with confidence. The coin will 'chink' as the box hits the left fingers, just as if the coin was in the box - a natural sound, indeed with the thumb on top of the lid, the box can be shaken to emphasise the sound. 28
5. Without pause, move the two visible coins with the right hand, sliding one to the top right corner of the mat and the other to the bottom left corner. Photograph 4 shows this position with the hands omitted.
6. With the right hand, pick up the Jumbo card and pass it into the left hand above the box which is resting on the left fingers. The left thumb and forefinger hold the left side of the card. Without pause, reach under the card with the right fingers and take the box, the coin remaining on the left fingers under the card as the box is brought into view and immediately placed at the bottom right corner of the mat. If the lid is lifted just a little with the right thumb before the box is put down, then allowed to fall as the box reaches the mat, a 'chink' will be heard, just as if the coin was still in the box. See Note at end. 7. With the right thumb underneath and the fingers above the card, take card and coin together from the left hand and place the card sideways over the coin on the top left corner of the mat - Photograph 5. The right thumb is holding the coin under the card and releases it as the card is put down, making two coins under the card although the spectators believe there to be only one. Take care not to let the coins 'chink'.
8. With the right hand, pick up the coin at the bottom left corner of the mat, then place the left fingers under the left side of the mat to lift it slightly as in Photograph 6. Holding the coin between the right thumb and forefinger, slip it under the bottom left corner of the mat as in the photograph, move the right hand forwards and right up under the mat and card but as the right hand passes the left fingers, leave the coin on the left fingers. There must be no pause in the movement of the right hand as it travels - it must seem as if the hand moves under the mat until it reaches a point under the card.
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Make a slight upward flip with the right fingers under the mat to make the card give a little jump - if the two coins under the card now 'chink' together, so much the better. Immediately move the right hand back and from under the mat, then move it forward over the top and take the card by the left bottom corner, move it back (TWO COINS ARE REVEALED) and swivel it in an anti-clockwise direction so that the left side can be taken by the left hand (Photograph 7 - exposed view), which as soon as the fingers are covered by the card, moves to the left. The position is that now there is a coin under the card, the latter being held with the thumb above and fingers underneath.
9. Take card and coin into the right hand and place over the two coins just revealed - in the same way as shown in Photograph 5. 10. Pick up the last visible coin in the right hand and make the same moves with the hands under the mat as in Paragraph 8, to reveal THREE COINS under the card. However, this time do not place the card and coin down as in Paragraph 9 but hold the card in the left hand, keeping the coin resting on the fingers under the card. 11. Pick up the box with the right hand and place it over the card, as near as possible over where the coin is, holding it with the left thumb. Gesture with the right hand towards the three coins on the mat and say: "Three coins here ... and one coin in the box." As the last words are said, grasp the right side of the card with the right hand and slide the card to the right. Box (above card) and coin (below card) come together at the left side of the card as in Photograph 8 (exposed), the coin going into the inverted box automatically. Immediately shake the box twice to make the coin 'chink', then place the box (with coin underneath) about six inches to the right of the three visible coins.
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12. Take the Jumbo card and in placing it over the three coins, BEND IT SLIGHTLY so that there is a curve each end as in Photograph 9.
13. Again, lift the card to show only three coins then drop the card over the coins. 14. Grasp the box between the right thumb and forefinger and without lifting it, slide the box fairly quickly towards the card (Photograph 9). Just before the box touches the card, lift it slightly - the coin goes under the curved end of the card and the box goes above it Photograph 10. Actually the tip of the right second finger can help to shoot the coin under the card. 15. Tap the box then lift it with the right hand for the left hand to slowly and dramatically lift the card to reveal FOUR COINS. 16. Hold the box above the card. The right thumb and forefinger hold lid and box together at the sides, the TIP of the SECOND FINGER being just under the EDGE of the BOTTOM of the box. Now, keeping hold of the lid, let the bottom fall - Photograph 11 shows the bottom of the box leaving the lid. Because the tip of the second finger is under the edge of the bottom of the box, it will turn over as it falls and come onto the card right side up - Photograph 12.
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Everything can be left on the table for anyone to pick up - you are clean! NOTE. In the original routine sent to me, Aldo performs seated and makes use of 'lapping' a coin. To do this, go back to Paragraphs 5 and 6. With the box in the left hand (coin in inverted box), slide the two visible coins, one to the upper right corner and the other to the inner left corner, AND AT THE SAME TIME, bring the box to the edge of the table and let the coin fall into the lap. Now, with the right hand, take the box from the left and place it at the inner right corner of the mat (make a 'chink' as the box is set down by slightly lifting the lid and letting it fall again). Reach for the Jumbo card with the right hand and AT THE SAME TIME, let the left hand fall to the lap to secure the coin. Bring the card to the left and simultaneously lift the left hand to come under the card. Perfect cover is thus afforded for covering the coin with the card. Now proceed to take the card (and coin) into the right hand and place over the visible coin at the top right corner of the mat. Continue as described. Practise this routine until everything can be made to flow smoothly. It really is a very fine series of effects and well worth the time spent to gain the confidence necessary for a masterly performance. None of the moves are difficult but like all good magic, they must be practised over and over again until they become automatic. TIMING is a very important factor.
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BOSTON TWO STEP ALEX ELMSLEY In the Introduction to this book, I wrote that the subject would be mainly about the simple metal pill box as devised by Okito. However, it is felt that this fine routine by Alex Elmsley should be included although the box used is that generally known as The Boston Box, because the moves are mostly those with which we have been dealing. My thanks go to that fine magician Alex Elmsley for contributing this routine to THE GEN magazine when I was Editor and to the Supreme Magic Company who purchased the rights to all the GEN material. In addition to adding photographs to the text, the coins have been altered to conform with those in use today - the original routine used pennies and a sixpence as these were legal tender when the description was written by Alex Elmsley in 1961 (GEN VOL. 17 NO. 3). It was found that four 50p pieces fitted into the box I use and that the new lp is a convenient coin to take the place of the sixpence. EFFECT. A brass box is shown, together with four 50p pieces and a 1p piece. The 50p pieces are put in the box, the 1p is vanished in a handkerchief and appears in the box on top of the 50p pieces. Then both the 50p pieces and the 1p vanish from the box and re-appear in the handkerchief. METHOD. The box used is the George Boston combination box which consists of a 'German' or 'Foxy' coin box with an Okito box lid. A 50p piece is fixed into the recessed bottom with BLU-TACK and a 1p is fixed in the same way onto the 50p. Now, when the box is upside down, it appears to be full of 50p pieces with a 1p resting on top. Only two moves are made with the box and both are standard Okito box moves. Start with the box prepared as described. In the box are four 50p pieces, on top of them is the 1p, and the box is closed by the lid. A handkerchief is in your left coat or trouser pocket. STEP 1. Show the box in your left hand. With the right hand, take off the lid and put it on the table. Next take the 1p, display it and put it also on the table. Then dump the 50p pieces out of the box into the right hand, taking care not to flash the gimmicked bottom of the box. Count the 50p pieces back into the box, which is on the tips of the fingers of the left hand. With the right hand, pick up the lid and place it on the box, turning the box over as you do so under the cover of the right hand, by bending the left fingers inwards. As a result, the lid goes on the bottom of the box - Photograph 1.
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"For the first part of this trick, I shall use the 1p and a handkerchief". As you say this, lift the box with the right hand, leaving the 50p pieces in the left finger-palm - Photograph 2. The left hand goes to your pocket for the handkerchief, while the right hand puts the box on the table. As far as you are concerned, the trick is nearly over now, although to the audience it has hardly started.
Show the handkerchief, open it and spread it over your palm-up left hand. The 50p pieces are held by the two middle fingers but if the thumb, first and little fingers are spread widely it will appear through the handkerchief that your hand is open Photograph 3. Pick up the 1p in your right hand and appear to put it on the handkerchief and close your left hand round it, through the handkerchief. Use any vanish which leaves the 1p finger-palmed in the right hand - the 'pinch' vanish is suitable - Photograph 4.
Blow on the handkerchief and open your left hand (returning to the position with first and fourth fingers extended) to show that the 1p has vanished. With the right hand, lift off the lid of the coin box to show the 1p apparently resting on top of the 50p pieces. 34
STEP 2. "The second part of the trick is more difficult. I shall extract the 50p pieces from the box and pass them into the handkerchief". Although not strictly necessary, it is a good thing at this point to take the handkerchief by a corner with the right hand and shake it out. The left hand, of course, returns to the ordinary finger-palm position. Then the handkerchief is once more spread over the left hand. With the right hand, replace the lid on the coin box then make a motion of removing something from the box and throwing it at the handkerchief. Grasp the finger-palmed 50p pieces through the handkerchief between right fingers and thumb, turn the right hand palm up and with the left hand, throw the handkerchief back to reveal the 50p pieces - Photograph 5. The action is the same as Jack Chanin's coin production from a handkerchief (the T.V. Surprise). The 50p pieces should be fanned as they are brought into view.
Drop the 50p pieces into the left hand and put them on the table. Say, "While I'm about it, I'll extract the 1p too". Again make a motion of removing something from the box and throwing it at the handkerchief, this time with the left hand. Then grasp the finger-palmed 1p through the handkerchief and bring it into view, again using the Chanin moves described above - Photograph 6. Take the lp from the handkerchief with the right hand and put it on the table. The handkerchief is left spread over the left hand.
Finally, pick up the box, hold it about four inches above the left palm and let the box drop out of the lid in such a way as to make a half turn before landing mouth up on the handkerchief. Show the box empty, put the 50p pieces and 1p back into it, close it with the lid and you are ready for the next performance. 35
ADDITIONAL MOVES WITH THE OKITO BOX 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.
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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
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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.
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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).
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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 between 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
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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.
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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. 42
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 insides 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 fingers (Photograph 21), which then stroke the fingers of the right hand (from tips of fingers 43
to palm of hand) and deposit the box on the palm of the right hand. Photograph 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.
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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
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