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shuffle. You relieve him of his end of frame by supporting it while he shuffles. When he is through, ask him to drop the cards on the centre of the frame. You now walk up to the chair and bring the paper bag. Open the bag slightly and blow into it. Ask the volunteer on your right this time, to pick up the cards and drop them into the bag. When he does this, you screw the mouth of the bag tightly. Keep screwing down to half its length and begin to shake it up and down. Suddenly stop and look at the volunteer on the right and say—"perhaps you would like to do it— here take it". With these words you hand the bag and cards to him.

As the bag is shaken up and down, you look towards the audience and remark "After that treatment the cards by now must be torn into shreds". Ask the volunteer if he is satisfied and when he answers in the affirmative you take the bag, tear rhe top half away and toss aside. Take out the pack from within and hold in your left hand. Let me explain that the idea of screwing the bag down halfway is deliberately planned with a purpose. No matter how vigorously the cards are shaken the concealed single card will never lose its position. The worst that can happen is that some of the cards will perhaps turn over. This in fact is an advantage. However, when you bring out the pack you naturally add the extra card on top. This is done in a natural manner indeed. Straighten out the few cards that might turn over. You will now have to force the card that you added ro the pack. Don't let the sound of the word 'force' worry you because even though you may not have occasion to use this effect as a whole, my entire article is worth reading for the sake of my one-handed hundred per cent force about to be described. I know you will find it useful in many other ways as well.

Hold the pack in your left hand as though for the overhand shuffle. The cards facing inward towards the palm. Rest the thumb across the upper corner of the pack, the tips of the fingers resting against the back of pack. Now ask the volunteer on your right to command you to stop as you riffle the corners of the pack. Actually it is all done with the left hand. You start to riffle the the cards and when asked to stop you do so. Press the tips of the four fingers against the cards and then turn over hand allowing all cards above the break to fall on the frame with the exception of the one on top which is retained by the pressure of the fingers. The top card is thus automatically added to the bottom half. In actual practice the entire operation is simply done and looks most natural and honest.

In the presentation, of course, the volunteer on the right decides when to stop and the one on the left picks the card at the point you were stopped at. Having forced the card, you drop the rest on the frame with the instruction that the selected card be mixed with them. For this purpose, you support the frame and get both of them to spread the cards haphazardly all over its surface.

You explain at this stage that under ordinary circumstances you permit yourself to be blindfolded but since the cards have all been mixed thoroughly it would still be difficult to find it with full vision. However, you continue that if you cover the cards it would serve the same purpose as obscuring your vision.

Walk up to the chair and pick up the fo'ded newspaper. With the extreme tips of the left thumb and forefinger vou grip the uppermost corner and allow rhe rest of it to drop. The sheet will open out gracefully and the side with the card will be towards you. Spread the sheet on the frame.

You now introduce your dagger. Explain that it is not a weapon made of ordinary steel

THE REAL SECRET OF "TROUBLEWIT"

Paper Folding has had a big popular revival of late. It is ideal as an extra turn to spread out your children's show. It can also be used as a Sophisticated Act—as currently featured by Billy McComb in the West End Clubs. Carefully explained and fully illustrated.

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but sp2C>Sly constructed of a patent type of magnetic meta! commonly used in Tibet. Its magnetic property lies dormant until activated. If the person who touched the single card, wou'd also contact the point of the daggE.' its magnetic property would become active only when the point of the dagger comes in contact with the card previously touched by the same person!

Now you already know the point in the newspaper under which the duplicate card lies. You naturally do not go for it immedi-ate'y but loiter all over the newspaper with the dagger held in the right hand. Bring the dagger point in contact with the newspaper at different points hesitantly and then as though not sensing the magnetic quality raise hand again and try elsewhere.

However, this stalling is not only done for effect but for another tangible reason. You will have to move out of the way any loose cards under the spot of the concealed one so that when you finally jab you only impale the one card on the point of your dagger. Therefore, as the right hand brings the dagger down at different spots the left goes under the frame and taps upwards as though to cause the cards to spread out further. This tapping you will find forces the loose cards out of the way.

Finally jab at the exact spot allowing the point of rhe dagger to force its way through the material and right up to the hilt. Wait for a moment and then pull the paper away with the left hand. Don't bring up the dagger as yet. Ask the volunreer to name his card and after he does this you suddenly raise the dagger and the selected card is brought to view.

in ordinary circumstances this is but a oanour sort of an effect. By the employment jr the frame and two volunteers and the presentation approach, the trick takes on not on'y a fresh complexion but achieves an exciting climax which certainly makes it large enough for stage work.

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