MONKEY IN THE BOX

By Steve Reynolds

©Tipping Mitt Productions 2006. All rights reserved.

 MONKEY IN THE BOX
(Steve Reynolds)

Method: Remove the deck and place the card box to your right with the opened end
forward and the half-moon cutout pointing up.

Perform a few effects and conclude with any single selection routine. As this effect
registers, take the deck with your right hand from above and by the ends, with your first
finger curled sharply on top. Dribble a third of the right-hand card onto the tabled packet.

Place the remaining right-hand cards into your left hand and take back the selection. As
you do so, obtain a left fourth fingertip break below the top card of the left-hand portion
by pushing it to the right and then pulling it back with your left thumb.

Drop the selection face up on top of the left-hand cards and retain the break. Perform a
handling of the “K.M. Move”1 as follows: Grip the right side of the back-to-back double
between your right thumb (above) and fingers (below). Drag the double to the right until
it is almost clear of the right side of the talon (PHOTO 1). Turn your left hand palm
down, bringing the back of the deck directly onto and flush with the right-hand double2
(PHOTO 2). Immediately, thumb over the lower card of the deck with your left thumb.
Take this x card (assumed to be the selection) by its exposed side between your right
thumb (above) and fingers (below) and move it away from the left-hand packet.

PHOTO 1

1
The application of the “K.M. Move” was suggested by Dave Solomon.
2
(Tony Kardyro/Edward Marlo) K.M. Move (1962).
 PHOTO 2

Keep your left hand palm down and riffle the inner end of the tabled portion. Insert the
supposed selection into the gap and square up.

Take the card box from above and by the sides with your right hand. Remember, the open
end is forward and the half-moon cutout is up. Box the left-hand portion, so that the
backs are towards the cutout (PHOTO 3). Close the box flap and place the box to you
right and out of play.

PHOTO 3

Have the spectator shuffle the tabled pile to apparently loose the selection further. As the
cards are being shuffled turn to another spectator and ask, “Would you like to play
along?” As you ask this pick up the box and hold it in the left hand, open the flap with
your right fingers. Now, your left first fingertip engages the outer end of the top card of
the boxed portion (selection) and lifts it up. This allows your right fingers to grip the
outer end of the remaining portion between the thumb (above) and fingers (below). Tip
the opening of the box up and remove the gripped portion from the box, leaving the
selection in side (PHOTO 4).

PHOTO 4

Lay the right-hand cards face up on the table and perform a quick ribbon spread as you
say, “Please choose a card, but not one of hers.” As you say this, close the flap and place
the box to the side.

Scoop up the spread and re-spread them face down between your hands to have one
removed. Close the spread and hold the cards face down in your left hand. After the
selection has been noted, take it back and insert it into the outer end of the deck. Push the
selection flush and obtain a left fourth fingertip break above it using the same anglejog-
to-break procedure described above.

Cut half of the cards above the break, then all the cards above the break, and finally the
remaining left-hand cards. Each packet is cut and tabled on top of the tabled portion. This
sequence secretly maneuvers the selection to the top while apparently burying both
selections.

At this stage the second selection is the top card of the tabled deck and the signed
selection is in the card box. You are way ahead.

Ask the spectator to lift half of the deck straight up. Place the box perpendicular to the
lower half. Have the cut portion replaced on top.

Say, “The card box repels cards; from the middle…” Now position your right hand in
“flick” position (PHOTO 5) and then flick the box from between the two portions3.
Immediately, turn the top card over and drop it face up on top of the deck. This two-fold
action with the box flying forward and the top portion dropping provides a visual
3
This flicking action is usually associated with David Britland.
dynamic that strengthen the appearance of the selection. In fact, timed correctly, you can
give the impression that the selection “popped” face up on top.

PHOTO 5

At this stage, the card box (with the signed selection in it) is well away from you. Say,
“The card box also attracts cards.” Have the spectator open the card box to find their
selection to cap the routine45.

4
This is directly inspired by an unpublished B.J. Bueno routine.
5
This appeared, in a slightly different form, in Reynolds’s Cosmic Sport (2001).