The move that enables you to see what's been placed in the box, regardless of which routine you're using, is essentially the same as in the original. A slight variation had to be developed to compensate for the lack of "give" in the new wooden/ plastic boxes which were fabricated in place of the cardboard original.
The effect can be performed using both boxes as a nesting pair or either box individually. This permits you great flexibility. The nesting routine provides added misdirection. Conversely, using the large drawer box by itself, enables you to use larger objects. To master the move, required to accomplish any routine, begin by placing a single die in the small box. Put two rubber bands around the belly of the shell (see illustration). Place the drawer containing the die inside the shell and place two more rubber bands around the of the drawer box lengthwise, securing the drawer in a closed position.
against the right end of the drawer, between the two rubber bands. Naturally, the finger is slightly bent. The move that's required to see what's inside the box occurs when the right hand places the box into the left hand. As the box is inserted into the waiting left hand, the little finger straightens and pushes the drawer to the left, allowing it to open behind the fingers of the left hand. From the audiences viewpoint, the open drawer is completely masked. Even those who may be seated at your extreme right, will be fooled by the black art principle that's produced by the two rubber bands around the end of the drawer and the black interior of the shell.
As soon as the drawer is open about a half-inch, tilt the right end of the box upward just enough to cause the object inside to slide to the open end. In the case of a die, this will permit you to momentarily glance down and catch a fast glimpse of the number of spots showing uppermost. (Obviously, the same technique also permits you to see the back design of the card as described under "EFFECT #1.") The drawer should be held in the open position by the pressure of the left thumb on one side and the left two or three fingers on the opposite side. The pressure should be applied at that point where the outer shell and the open drawer meet. You'll have plenty of cover to obtain the necessary glimpse.
Once you have the information you need, use one of two methods for closing the drawer. The first is to gradually ease the pressure on the drawer being applied by the left thumb and fingers, allowing the two rubber bands to provide the power necessary to close the drawer. This is not as easy to do as the cardboard version because of the stiffness of the drawer and shell, however, with a little covering
shown in the illustration.
Pick up the drawer box at one end in the right hand as shown in the illustration.
The thumb should be on one of the narrow sides and the first three fingers on the opposite narrow side of the box. The tip of the right little finger (pinkie) is resting motion it can be accomplished. To do this, simply shake the box from side to side as you gradually release the pressure allowing the noise of the die (or stapled card) in the box sliding around to cover any slight sound generated by the drawer closing.
The second method involves hiding a small action with a larger one. Let's assume a spectator standing to your right has sealed the die in the box. Your back is turned while he does this. When the drawer has been secured by the rubber bands, you turn and hold out your right hand, palm upward. You ask the spectator to place the box on your hand. You walk to someone in the first row of the audience and hand them the box to examine. When they're satisfied the box is completely opaque and it's impossible to see what's secured inside the box, you retrieve it with your right hand.
As you turn to your right, the right hand places the box in the left hand. It's at this point that the right little finger pushes the drawer open. The left thumb and fingers are now trapping the drawer in the open position. A quick downward glance is all you need to see the number showing uppermost on the die (or the back design on the card). As you approach the spectator who placed the die in the box, extend your right hand towards him, palm up, as you simultaneously ask him to hold out his left hand. He cannot see the open drawer because it is hidden behind your left fingers. As he extends his hand, your right hand takes the box with the right little finger entering the right end of the box between the rubber bands.
As soon as the tip of the right little finger is resting inside, against the end of the open drawer, the right hand quickly moves the box towards the spectator's extended left hand. Simultaneously, the right little finger is withdrawn allowing the drawer to close smoothly and silently. The rubber bands provide the motivating force. The action of the drawer closing is impossible to see with the right hand in motion. Try it in front of a mirror and you'll see what I mean.
I've practically given you a frame-by-frame explanation of the action as if you're watching a slow motion movie. But, I think it's necessary if you're to truly understand every deceptive nuance of the peek. Both methods will work perfectly when properly executed. If I were demonstrating this to you in person, it would only take about 60 seconds for you to completely understand it. Unfortunately, it takes a bit longer in print. However, once you've mastered the move, it's important that you block out the action in advance to determine which method is best to use depending on your performing situation . Actually, no matter where or under what circumstances I perform "Boxxed," I can execute either move indetectably and after a little practice, so can you. Generally I prefer to use the second method. The reason? Some might think the die rattling has something to do with the secret. As you well know, as long as the audience has any method in mind, regardless of how practical or impractical it is, the overall effectiveness of the trick is greatly diminished.
"Boxxed" is extremely versatile. I'm sure you'll develop many other uses and routines. It only goes to prove that with many effects, it's never over till it's over.
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Today I'm going to teach you a fundamental Mentalism technique known as 'cold reading'. Cold reading is a technique employed by mentalists and charlatans and by charlatan I refer to psychics, mediums, fortune tellers or anyone that claims false abilities that is used to give the illusion that the person has some form of super natural power.