iHi:: OlHER SIDE OF
TfW. FOOTLkGHTS
JM:. KOBS EMPLOYED BY
n-nE MODERN SPIRITUALIST, PSYCHIC W'^ ,ER,
rf>AmvoY:4rNT an^ trtstal c \zer
CD.-'-^' V'
EOUC.
PSVCH.
THE LIBRARY
OF
THE UNIVERSITY
OF CALIFORNIA
The John J. and HaiNna M. McManus
Morris N. and Chesley V. Young
Collection
On The Other Side
of the
Footlights
AN EXPOSE OF ROUTINES, APPARATUS AND
DECEPTIONS RESORTED TO BY MEDIUMS,
CLAIRVOYANTS, FORTUNE TELLERS
AND CRYSTAL GAZERS IN DE-
LUDING THE PUBLIC
Published by
HEANEY MAGIC COMPANY
Berlin, Wis.
GIFT
"•• JOHN T
EOUd-
PSYCH.
LIBRARY
DEDICATION
To the Memory of Harry Kellar, The Dean
of Magic, Known and Beloved by Magicians
and Laymen Throughout the World, This
Work is Dedicated.
952
CONTENTS
Introduction '"1^
Rope Ties 15
Blindfolds 16
Sealed Envelope Reading 17
Alcohol Method 19
Wax Pads 21
Back of House Steal 22
Switching in Audience 23
Changing Bag 25
Changing Basket 26
Mirror Bowl 26
Bowl and Stand 27
Bowl and Tongs 28
Carbon Table Top '- 30
The Ink Bottle 31
The Clip Board 32
Transmitting Contents of Messages ._- 34
Direct Connection Telephone 35
Induction Method 36
The Blackboard Method 37
Cushion and Crystal 38
Reader Stand 39
Faro Box Hand Reader 40
Concealed Reader 41
Reader Balls 42
Mechanical Balls 44
Reading from Face of Watch 45
Reading Off Cuff 46
Using Edge of Envelope 46
Marking on One Envelope 47
Handing Back Original Queries 49
Trumpet Seance 50
Reading Under Sheet 52
Psychic Tests 53
Thought Transmission Test 53
Stylus Method 56
Parlor Thought Transference 57
The Want Ad Test 59
Flap Slates 62
Medium's Slate Mystery 63
The Bolted Slates 63
Mechanical Slates 64
Hinged Flap Slate 66
Wedge and Steel Hook 67
Slate Switches 68
CONTENTS— Continued
Rapping Hands —
Thread Method *^
Electro Magnet '0
Needle Point Method '71
Weighted Hand "72
Bible Test "^2
Talking Skull 74
Spirit Clock '^5
Spirit Photography —
Double Envelope Method 75
The Sand Frame 76
The Buckley Method 78
Table Lifting-
Old Method 80
New Method 81
Floating Ball 82
Clairvoyance or Second Sight 85
Suggested Feats in Audience 85
Playing Selected Pieces on Piano 87
"Object" Code 88
Second Sight by Telephone 93
Silent Thought Transmission Test 93
Spiritualistic Effects 96
Floating Light 96
Materialization 96
A Typical Seance 98
Miscellaneous 102
The Living and the Dead 102
The Haunted Handkerchief 103
Second Sight with a Clock 103
Penetrating Glass of Water 104
Hindoo Lota 106
The Bewitched Umbrella 106
Finding Hidden Articles While Blindfolded 107
The Spirit Answer 109
The Ghost's Message 110
Sack Escapes 111
The Bottomless Sack 112
Double Sack -^ 112
Stealing Slack _' 112
Mail Sack Escape 113
Black Art 113
Fortune Telling Ball 115
The Cut and Restored Turban 116
Catching Live Pigeons Out of the Air 117
The Obedient Ball 119
In Conclusion 119
INTRODUCTION
THIS manuscript was compiled primarily for the benefit of
uninformed magicians, enabling them to adopt the various
tricks and effects for their own amusement, or to detect frau-
dulent mediums in the presentation of alleged spiritualistic
communications, etc., etc.
Should it fall into the hands of ones that have been duped
by the trickster, who plays upon their superstition, making
use of facts secured in regard to past history, family connec-
tions and similar information, for pecuniary profit, I trust it
will in the future save them from these vultures whose only
creed is "Get The Money," regardless of methods employed or
resultant consequences to their victims.
A word as to spiritism or spiritualism — supposedly a com-
munication by divers ways and means between the living
and the dead — a creed or religion that has grown by leaps and
bounds since the world's war, due largely no doubt to the re-
ceptive mood of widows, bereaved mothers and sisters when
the merest opportunity presents itself for a possible commun-
ion with their beloved ones. I do not make bold to state that
all mediums are frauds ; no douDt there are a few really sin-
cere, endeavoring to the best of their ability (but without
results) to pierce the veil separating us from that unknown
beyond. However, any worker who receives messages,
answer questions through a "control" and otherwise, or causes
seemingly supernatural occurrences to take place, emphati-
cally does resort to fraud or trickery.
You may say that spiritism does and must exist: that
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brilliant scholars such as Sir Conan Doyle and Sir Oliver
Lodge, whose expressions of belief refute the testimony of
magicians and other investigators who are equally positive it
does not exist. How intelligent, clear thinking men as the
above can be converted to the doctrine of spiritism is a prob-
lem for someone besides myself to solve . if sincere, a plausible
solution would be that they have either allowed their sensitive,
highly trained minds to receive impressions which have no
foundation or actual existence; or are the pawns of some
clever deceptionists, havfng been convinced of the genuine-
ness of seances undertaken and further, that they themselves
actually receive messages from the dead.
As this is being written the author-spiritist, Conan Doyle
has started a campaign in our country, preaching the gospel
of spiritualism and annexing American dollars in large
amounts, which action classifies him in my mind as on the
doubtful list. A future paragraph dwells upon attendant
finances in connection with this religion or "fad." Once again
it appears a case of belief and coin going hand in hand.
Ask any well informed magician whether or not he believes
in spiritism. He will laugh at you. The majority of fraudulent
mediums are crude in their demonstrations as compared to the
modern magician or entertainer, who produces the same and
more impressive results upon the open, lighted stage, while
the "spook" worker is in most instances protected by a cur-
tain of darkness. I myself have never witnessed anything but
trickery in seances ; I have yet to meet the magician who could
not explain the methods of trickery or articles of apparatus,
etc., employed at seances where he sat in attendance. Mr.
Harry Houdini, at a banquet recently given in his honor by
the Chicago Assembly, Society of American Magicians, in a
most wonderful and highly interesting speech told those pres-
ent of having witnessed over one hundred seances while in
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Europe, and in each instance had detected trickery or fraud
being employed, although a few workers were exceptionally
clever. He has investigated every medium of note in this
country with similar results and, in addition, to satisfy himself
beyond peradventure of doubt in regard to communication
with this world after death, made compacts between his most
devoted friends that each would endeavor to get in touch with
the other in the event of their decease. Two comrades have
departed on the great unknown journey, one his life-long
friend and late secretary, John Sargent, whose last words to
Mr. Houdini were: "Harry, remember the sign." The agreed
sign has not been received, nor a message of any character, to
estabhsh the fact of active or communicative life beyond the
grave.
These many visits of Mr. Houdini were not made as a
skeptic; neither was the thought of expose uppermost, but in
full faith to determine to his own satisfaction if amongst the
mediums one was actually capable of proving beyond doubt
that those in this life are able to get in touch with our dead.
Mr. David P. Abbott of Omaha, Nebraska, is a well known
student of psychology and an ardent investigator in matters
pertaining to spiritism. His investigations covered a large ter-
ritory, for when publicity was awarded mediums or clair-
voyants, these individuals v>^ere visited and methods of oper-
ation studied. The above gentleman is also author of an inter-
esting book wherein he exposes the routines employed by
mediums, which, however, have since been superseded by
others more intricate and clever, as will be the case after those
explained herein become more universally familiar to the
public.
The best arguments to advance against the theory of
spiritism are these : Why are the converts thereto so exceed-
inly small in number compared with any other religion ? Why
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are such a chosen few capable of satisfactorily or convincingly
conducting a seance? Why is there always a subscription,
donation, or whatever you desire to term it, collected or in
some manner extracted from the purse? There is always a
source of revenue connected with the work regardless of the
place or manner exhibited.
Women are more susceptible to the wiles of the faker than
are males, though many of the latter, especially among the
foreign element, are believers in spiritism, fortune telling, etc.
The fortune teller, in most sections of the country, due to
police activity, is almost extinct, but in former years conducted
a prosperous business. Their methods of procedure were
almost identical with those of the magician or spiritualist. I
have interrogated many women who visited these fortune
tellers and to demonstrate how easily the mind forgets errors
and small details, remembering only truths or pertinent facts,,
can state that over ninety per cent could give no coherent
detail of a visit or conversation until lead over it step by step.
When relating their experiences the major portion would say
they called on "so and so" and when ushered into the presence
of the seer he called out the correct name and make known
what was on their mind. My first query was: "Didn't you
write your name and a question, or sign your name to some
paper before being ushered into the presence of the fortune
teller?" Invariably the answer was "no" and in a few in-
stances this was correct, the information having been pumped
by an apparently prospective caller like themselves, who in
reality was an assistant of the faker and to whom it was con-
veyed before being ushered into the interior sanctum. After
leading a party over the journey, step by step, from time of
starting up the stairs, or in some instances from the instant
of departing from home, recalling every move possible, it was
generally remembered that they had written their name and
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asked a question but had put it in a pocketbook, a glove, etc.,
"where there was absolutely no chance of the man seeing it."
After reading this volume you will realize that such a proce-
dure was all the prognosticator required, but this really had
been a mere matter of detail and was entirely forgotten or
covered up when unexpectedly called by name and some truths
or near truths conveyed. Such a visitor is subject to nervous-
ness, due to the unfamiliar surroundings ; wondering what in-
formation will be gleaned ; whether the fortune teller can read
minds ; the appearance he will present and fleeting thoughts of
what possibly others have related regarding his prowess — a
condition of mind known to and relied upon by the faker — his
two chief assets being nerve and an understanding of human
nature.
Next time a visit to a fortune teller or to a spiritualistic
seance is contemplated, if by chance you number a magician
amongst your acquaintances, request his company; if versed
in the art of magic, as he should be, the solution of various
demonstrations can easily be secured. Perchance there is a
magicians' fraternity in your community; if so, the members
thereof will be glad to aid and enlighten you along these lines.
One of the paramount duties of the Society of American Magi-
cians, which is proud to be under the leadership of Mr. Harry
Houdini, President of the New York Parent Assembly, is to
expose fraudulent mediums and fake fortune tellers ; this body
or one of its branch assemblies in the United States is always
willing to extend every courtesy possible, perhaps saving your-
self or friends from the clutches of the faker, a personage
often very fluent and convincing in conversation, quick witted
and ever on the alert to make capital of each arising situation.
All statements to the contrary, nearly everyone loves the
mysterious and enjoys being deceived, to a certain extent; if
such were not the case a majority of spiritualists, clairvoyants,
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fortune tellers, etc., would be out of business, but, strange as
it may seem, it is extremely difficult to convince the average
person that he has been duped or tricked; many conclusive
arguments will be advanced that it was an utter impossibihty ;
that the person visited had never seen him before, nevertheless
he was the recipient of numerous truthful statments pertain-
ing to intimate family history, individual self and absolute
possible prophesies affecting the future.
Here is where another hidden angle of the case enters:
A hustling, up-to-date spiritualist does not work alone, but has
several accomplices or "cappers" — these lead in the victims
and you may be sure that having lured a prospect to the
"chief" the personal history of this party has been pretty
well "booked." A record, termed "The Blue Book," contains a
history of valuable information in regard to those having been
lined up by spiritualists, which data is available to the frater-
nity throughout the country. Perhaps some innocent looking,
elderly lady met you several times at the grave of your soldier
son, we will say, for example, and in time told of her own loss
and how she communicated with this deceased person through
the aid of a certain spiritualist, whose great achievements are
extolled. At once curiosity is aroused and the chances are
almost 100 per cent of a visit being paid in company with your
acquaintance of the cemetery, or through her introduction, in
which event you will be told a lot of facts about yourself and
family, secured from the day you were first "spotted" as a
prospective customer by the "capper." N9t realizing that the
woman could possibly be in league with the faker, and when
confronted with so much truth about herself, it is small won-
der that the mind is easily swayed. Further calls will un-
doubtedly be made, various information imparted and perhaps
the privilege of witnessing your deceased son "materialized"
and the carrying on of a conversation with him, through the
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medium. During this time you will incidentally be making
donations, perhaps large ones^ for what mother, after being
convinced of the genuinesness of the medium, would not give
almost any earthly possession to hold communication with her
departed daughter, son or husband. This is only one of
multitudinous artifices adopted, and if not led into the folds
as a believer in this manner, you will be landed in another, as
the methods of procedure vary according to the most vulner-
able approach offered by different individuals, such as playing
on the sympathy, vanity, knowledge, etc. — any course that
offers the least resistance to advances of the wily faker.
The cappers mentioned above also greatly assist at seances,
aiding in working up enthusiasm and partial hysteria, likewise
preventing interference with the worker from those who
might become imbued with curiosity as to various actions or
details of some presented phenomena.
Probably a volume could be written on this phase of the
situation alone, but we will advance to the actual inside work-
ings of the professional and allow the reader to learn what a
very simple matter it is to get possession of desired informa-
tion in various ways "even when you carry the slip of paper
in your glove." Manifestations that appear supernatural to
the uninitiated, when witnessed with the clarity of vision ob-
tained through true and definite knowledge, stripped of the
glamour of heavily perfumed, costly draped and semi-darkened
rooms, stand forth as mere human deceptions or cleverly con-
structed pieces of apparatus.
The history of slate writing, as used by fortune tellers, etc.,
has been well covered in previous works, therefore, in this
respect, will confine myself merely to the more later and con-
vincing methods — ones causing even an intelligent person to
cast aside the thought of trickery. In other psychic effects
the field has not been entirely covered ; only the more essential
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and commonly used tricks or effects have been explained ; some
possess certain special devices which are capitalized and every
year sees the introduction of new or the arrangement of old
ones ; when a system of fraud or article of use is exposed it is
supplanted by another and better.
In conclusion: Should you at some time have frequented
a seance, either through idle curiosity, or in good faith, re-
member if you can the demonstrations enacted, then after
reading this volume visualize again the occurrences: How
simple it all was and how easily to be accomplished through
the methods explained in the following pages.
DR. X.
April 14, 1922.
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FOOTLIGHTS
ROPE TIES:
UNDER this caption but little space will be consumed, due
to the fact that escapes from ropes, handcuffs and other
restraints have been thoroughly explained in various magic
books; further, in these modern days it is a ruse but little
adopted by spiritualists, though the Davenport Brothers of
bygone fame specialized in diiferent methods of escape, the
rapidity with which executed being attributed to aid lent by
invisible spirit hands. Occasionally a modern worker resorts
to ties, thereby enhancing the effect to be produced.
All these methods of trussing up or tieing certain portions
of the body are in effect nothing but trick ties. Slack is
secured here and there, or a tie cannot be accomplished without
leaving a slip-knot at the conclusion, and the more material
employed, the easier the escape. Hempen rope is never used,
but a variety of stiff cord, with which it is almost impossible to
secure a hard knot; it is easy to slip a knot along same and
it can be stretched enough to gain the necessary slack when the
form of tie so requires.
That this is trickery or that mere human traits enter into
the execution of releases can best be verified by calling atten-
tion to escapes presented before the public by our late Harry
Kellar, Harry Houdini, Hardeen, The Great Blackstone and
other lesser lights too numerous to mention. These gentle-
men have submitted to ties that would make the Davenport
Brothers blush with shame at their accomplishments; the
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work was done on a lighted stage, likewise the escape, which
took but a few minutes at the most to effect.
Therefore should you witness phenomenal events transpire
while a party is apparently securely strapped in a chair,
etc., and at the finish is still in that condition, do not put too
much credence into any statement made setting forth his in-
ability to have taken part in such happenings. The hands
only need be released, which is done in a space of short dura-
tion, they are again reinserted into the loops or folds, drawn
tight, and it appears to the neophyte that the individual has
been helplessly bound throughout.
BLINDFOLDS:
To the average person a bHndfold on an individual renders
the wearer incapable of visualizing events that may transpire,
but such is far from being the case. Again deception enters.
A folded handkerchief placed over the eyes renders sight
straight ahead an impossibility, but it does not prevent look-
ing down the nose and viewing actions that take place within
this range of vision. Thus a reader so treated, while sitting
at a table, has complete knowledge of writing on cards, etc.,
placed at or near its edge. Occasionally a kid glove will first
be laid over the optics, this in turn being held in place by a
handkerchief or cloth — the result is not altered, however; in
fact, it is simplified, the glove, being stiff, holds cloth further
away from the eyes. Should it be a little low, a wrinkling of
nose and forehead will raise sufficiently to not inconvenience
the wearer.
At times it is necessary that sight straight ahead be
secured, thus an ordinary blind would not suffice, but the
obstacle is easily and simply overcome through the use of a
trick bandage. To ordinary appearances it is a folded cloth' of
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several thicknesses, but what the observer cannot discern is
the square, fitting over one eye, where the folds have been cut
away, leaving only two thin layers of cloth, the vision of one
eye thereby not being affected.
Numerous devices are employed: These few remarks are
merely to inform the uninitiated that a blindfold is not always
what it appears.
SEALED ENVELOPE READING:
The backbone of spiritism, fortune telling, crystal gazing
and various incidental psychic effects is the transmitting to
the asker of information in regard to a query written by him-
self and sealed in a container. In some cases the question is
folded and securely tucked away about one's person.
Unless the performer be endowed with clairvoyant or
supernatural powers it would, of course, be impossible for him
to become aware of the contents of envelopes or what is con-
tained on the paper slips in another's possession. Such being
not the case, it is necessary that this data be secured in a
manner v/hich will arouse no suspicion or thought of trickery ;
on the contrary, leading to the belief that he must be endowed
with powers beyond those of ordinary mortals.
When a question is written by the average person and con-
cealed by himself while performer is not possibly within read-
ing distance, very little misleading talk is indulged in, for on
the face of this operation the writer is satisfied that he alone
knows what has been asked. When written, sealed in an
envelope and then collected by performer or his assistant, some
suspicion might be attached to this action, which is overcome
by the logical arguments advanced. A basic or commonly
used excuse is that performer collects the messages to protect
himself in case of denial, it being then only necessary to open
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envelope and verify the correctness of what is contained
therein.
One of average intelligence would reason that if the gazer,
clairvoyant, or medium is capable of conveying information
sealed away in envelopes, why can he not transmit the
thought concentrated upon without such a procedure; conse-
quently the opening talk of a crystal gazer, or other, is some-
thing along the lines of that quoted below:
" I desire you to write your questions upon the slips
of paper handed out for your convenience, or, stationery of
your own is entirely satisfactory; in any event, kindly sign
your name in full, seal in the envelope also passed out — in your
own container if desired, and hand to my assistant who will
pass amongst the audience. These envelopes will be brought
upon the platform, remaining in full view throughout my ex-
periments.
"The only reason I des,ire to have each one write out his
question is this: By so doing you unconsciously concentrate
upon it, storing this message away in the subconscious mind
where it is later more easily recalled and transmitted to my-
self. Some times persons have denied writing a question that
I have answered, but knowing what was concentrated upon —
that I was right, it was necessary to open the envelope and con-
vince my audience of the truth of these statements; that is
the reason they are brought upon the stage, though neither
myself nor my assistant approach near them. Further, I desire
to impres,s upon you that I am not a mind reader — this is
merely thought transmittance and should your name be called
out, kindly concentrate strongly upon the question you have
written ; I in turn will endeavor to transmit the various visions
as appear to me, etc."
Following is a description of the most effective and also the
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modern routines employed in securing information contained
on question blanks :
Alcohol Method:
This is one of the oldest methods known to the faker and
used extensively for many years throughout the country in
various forms of presentation.
Small cards were passed out to audience with a request
that the message be briefly written and the name affixed
thereto. Performer himself distributed cards, at the same
time handing out a soft lead pencil ; he then returned to plat-
form, taking up a stack of envelopes of sufficient size to ac-
commodate the cards and again went amongst the audience,
asking that parties hold cards with writing side down, pre-
cluding a possibility of his glimpsing the message ; performer
handed the envelope to writer, face down, requesting that he
insert his card, it being face down the written side was brought
against the face of envelope. As soon as card was partly in-
serted it was given into the keeping of the writer who was
told to seal and hold until collected : Should he investigate it
would be apparent that the writing was not discernible
through the envelope. All the messages having been sealed
they were collected by performer and deposited on his table.
Picking up one, placing to his forehead and apparently deeply
concentrating, a name would be called out; having received
acknowledgment of this person's presence a fairly intelligent
reply to the actual question would be transmitted and imme-
diately thereafter envelope was again given into his keeping,
perfectly intact.
What actually transpired after the return to stage was
this: In his pocket performer had a small salve can, with a
clip on the bottom, enabling it to be grasped between his
fingers ; this outfit was painted "flesh color." Inside the can
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was a soft or silk sponge saturated with cologne spirits. As
an envelope was taken from table, the hand containing this
"fake" was passed over its face, rendering the paper trans-
parent— and enclosed message was read while being placed to
the forehead. The spirits evaporated rapidly, enabling a re-
turn of envelope at conclusion of answer none the v/orse for
wear and to all appearances just as when picked up by per-
former.
In lieu of cologne spirits, alcohol may be used, when to this
is added a couple of drops of oil of cassia and incense burned
on platform, absolutely no trace of the alcohol will be apparent
by the sense of smell, a faint "punky" odor alone being notice-
able ; thus the excuse for burning incense.
Cards are used so they cannot be easily folded — a message
so treated is unanswerable, hov/ever, the performer will col-
lect and ignore same when it is reached.
The above method is still in vogue but has several draw-
backs, principally slowness of procedure and the small amount
of information containable on cards.
A more modern and suitable routine, using the alcohol base,
is to have a square of one-quarter-inch felt fastened to a piece
of tin the size of envelopes to be used ; after saturation it is
placed in an envelope with face thereof removed and inserted
between two ordinary envelopes, the whole placed at bottom
of ordinary stack and taken into audience, in which event per-
former makes sure that he has several more containers than
cards; the envelopes are collected and laid face down on top
of those remaining in hand, then after drawing out the ordi-
nary empty container on top of fake the face of first collected
message lies against the felt; it is necessary to draw the en-
velopes from bottom of pile, a slight pressure moistening the
face and rendering message visible.
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Wax Pads:
Generally referred to as the Anna Eva Fay Method. After
proper introduction a dozen or so tablets were passed amongst
the audience, the paper of each sheet being perforated to allow
of a message being written within a certain space, this portion
removed, paper folded and placed out of sight. The pad was
then passed along to another seeker of information.
After completion of message writing an assistant collected
the tablets and disappeared at back of theater.
Instructions as to your concentration were given by the
medium's manager, also a narrative of her powers, etc. She
then made an appearance, was seated in a chair free from any
outside connection or trickery; next a sheet was introduced
and used to envelope the entire body. Almost immediately a
name was called out, the person identified by manager as being
in audience, whereupon an answer was given which the writer
acknowledged as fitting his question. Balance of messages
were similarly treated.
The pads passed out are known among the magic frater-
nity as "wax pads" — every second sheet has been treated to
a parafine wax process — the parafine rubbed over sheet and
then smoothed off with a knife blade. This sheet will appear
ordinary, but v/hen the one above is written on an impression
or tracing of this chirography is left in the wax. Just as soon
as assistant has them in his possession they are quickly taken
to back of stage, or dressing room, a black powder poured over
the sheets and carefully shook off which develops impression
in the wax and this in turn is copied onto small cards, brought
in concealed about the medium's person. When enveloped
with sheet the cards are removed and through a thin part of
this covering sufficient light enters to enable the messages on
c^rds to be deciphered. Later a rubber tube attached to back
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of chair was used as a speaking tube, being superseded in turn
by the telephone.
How the answer really fits into the question is a matter of
hit and miss. Being aware of what you want to know the per-
former can be rather vague and lead up in a general way to
the point, doing quite a bit of talking and yet conveying no
definite information; a little pumping can be indulged in and
it is quite necessary to take a chance and guess ; perhaps the
correct point is covered, or if not "the impression is not quite
clear." The fact that your name was called out and a fairly
good answer given to what you actually desired to learn con-
vinces an average individual of the superhuman power pos-
sessed by medium, and when relating the experience will state,
as a rule, that she was told just what she wanted to know.
Human nature is such that it passes over the errors, recol-
lecting the truths; thus when a crystal gazer, for instance,
hits the nail on the head and conveys certain actual facts, his
wonderful attainments are praised to all the friends and neigh-
bors: The public itself is the best advertisement for an act
of this nature.
More generally the performer works in conjunction with
an assistant, securing part of his information before the dem-
onstration or while answering one batch of questions, thus
avoiding the old-time system of stalling along with a lengthy
introduction while the messages were being prepared, also
making recourse to the telephone book and city directory pos-
sible in search of clews. Following are the methods employed
by the present day workers:
BACK OF HOUSE STEAL:
In the case of crystal gazers, especially, at entrance to
theater is a box acting as a depository for messages. The
billing states that you may write your messages at home on
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your own stationery, sealing or fastening up as desired. Along
side of this box is placed a table containing writing material,
cards and envelopes, which is the means of a fair percentage
of persons depositing their queries sometime before actual
appearance of gazer.
An assistant from time to time removes unobserved from
this box a supply of envelopes, carrying same around to the
dressing room where they are opened and the information
transferred onto cards, paper rolls, etc., depending upon the
apparatus to be used, a description of which is given in fol-
lowing pages.
An ordinary envelope can be opened by simply rolling a
pencil or orange stick under the flap ; if this does not work an
application of steam renders the operation easy of accom-
plishment. Where sealing wax is used, it can be carefully
broken, the contents obtained and through the use of a little
additional wax (a supply of all colors are kept on hand), the
tampering with envelope is not visible. Generally these can
be passed up entirely; a large proportion will be written on
your own stationery and sealed in envelopes provided, which
only necessitates opening of the stolen one and resealing in a
duplicate.
As the assistant or assistants finish with one batch of
envelopes they are returned to the box at entrance so that
when it is eventually brought upon the stage and contents
placed in a glass bowl, or other container, the absence of any
conspicuous envelope or container cannot be commented upon.
At conclusion of performance the envelopes may be left at
back of house and the curious will find them untampered ( ?) .
SWITCHING IN AUDIENCE:
Using a system whereby the performer has messages writ-
ten and collected after his appearance it is necessary to switch
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the actual collected ones for dummies, these latter being
brought upon the stage, the original taken to the dressing
room or into the wings.
In this case the queries are written entirely on your own
paper and the assistant has a batch of ''dummies" in his coat
pocket; starting at the front of theater and working back,
while going from one aisle to another, he nonchalantly tucks
the collected messages into his coat pocket, extracting a set of
dummies. As a rule two assistants are used, one on each side
of the house, and after having received and substituted mes-
sages taken up in the center aisle, they start again on the side
aisle at front, repeating the operation of substitution, bring-
ing up these dummy containers and deliberately dropping into
a glass bowl or a suitable receiver, where they remain in full
view of audience throughout the act.
In the larger theaters a third assistant stands at back of
house, outside entrance doors, and as the collector goes out
the door of one aisle to enter another, he is handed original
messages and in return gives the collector a batch of dummies.
Where but a few messages are taken up, the coat sleeve
is used to effect a substitution, taking place right in the aisle,
amongst audience.
As a matter of fact the exchange of envelopes may be af-
fected in the very center of an audience; the more deliberate
the moves, the less attention attracted. That an exchange of
messages is to take place does not occur to the audience. The
eye is easily deceived, or the picture transmitted through it
to the brain is one of every day occurrence ; it is known that
messages have been written; a collection of same takes place
and a batch of envelopes are brought onto platform and
deposited in plain view. This is what the operator stated
would be done; apparently such is the case — no thought of
24
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exchange enters the picture and deception is consequently
very easily obscured therefrom.
CHANGING BAG:
An article bearing this professional name is used at seances
and amongst small gatherings.
In appearance it is an ordinary plush bag, 4 to 5 inches in
diameter and 8 to 9 inches in length, mounted on a small
handle. Into this are dropped sealed envelopes by members
of the audience as assistant passes amongst them. Without
leaving the room, at all times being in plain view, assistant
goes up to platform and dumps collected envelopes from this
bag into a basket or glass bowl ; without any person approach-
ing the questions, medium proceeds to call out names and con-
vey impressions to the writers.
As an actual fact, the bag is double, consisting of two inner
bags, or lining, along side of each other, both mouths ending
with a wire frame from which projects an arm running down
the handle and securely fastened to the end portion, which
revolves in either direction, thereby bringing mouth of either
bag into opening frame; when brought into audience the
handle is in such position that an empty bag is in view, the
second bag containing duplicate or dummy messages being in-
visible. When final message is deposited, assistant returns to
platform and enroute gives a half turn to the handle, which
action brings into place the dummy messages, concealing those
just deposited ; it is these dummies that are placed in the bowl.
As the collection bag apparently has performed its function
little thought is now given it, but had attention been paid to
the events occurring it would have been seen that the bag was
carelessly laid on a side table and a few moments later both
table and bag carried off platform, there the container was
reversed, emptied of original messages, the contents being
25
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secured and transmitted to performer in one of the many
methods explained herein.
CHANGING BASKET:
To accompHsh practically the same substition a basket is
sometimes used in Heu of a bag. In appearance it is of reed
construction, Hned with silk or satin into which the billets are
placed and immediately dumped into a container on medium's
table.
This piece of apparatus is specially prepared, being a
double-bottomed affair, the first bottom is in two portions,
hinged to side of basket about one inch above the lower bottom
and parting at its center ; the under and top sides are finished
the same as interior and actual bottom, so that when open
and against side of basket, held in place by a trigger arrange-
ment, its presence is not apparent: Tucked between the fake
and sides of basket are dummy envelopes. Passing around,
assistant collects the originals, at completion of which trigger
is released, allowing the false bottom to fall in place, bringing
to view duplicate or dummy messages conceahng originals,
and it is these latter that are deposited on the platform.
Like the bag, this basket is also unceremoniously carried
off stage, and in a few moments information contained in
envelopes is in readiness to be imparted to performer.
MIRROR BOWL:
Probably the most effective and convincing method for
gaining possession of original messages, where presenting a
stage performance, is by the use of above named piece of ap-
paratus, whereby the assistants collect messages, never leav-
ing sight of audience, and the original ones are plainly seen
to be deposited therein.
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The bowl, while made of glass, is specially prepared: The
half facing audience is unprepared, but across the middle of
bowl, from one side to the other, and from top to bottom is
inserted a mirror, it appearing by this insertion as a whole
vessel; the half back of mirror partition has its bottom re-
moved and a chute running from this bottom off stage. It is
necessary in this method to have the bowl back on stage near
wings so that the chute will be invisible.
After original messages have been collected and assistants
approach platform, from the folds of the uniform or clothes
is removed a bunch of "dummy" envelopes, being held in the
same hand as the collected missives, but separated by the
fingers; when dumping these envelopes into the bowl it is
screened by assistant's body and under this cover the blanks
are dropped into front half of bowl, actual messages going into
rear portion and thence down through chute to an awaiting
attendant in the side wings.
BOWL AND STAND:
In connection with this piece of apparatus suspicion is
easily averted. Envelopes are collected, actually brought upon
platform and plainly seen to drop into a brass bowl resting
upon a table. The seer pours alcohol into container and sets
fire to messages, thereby destroying same; several of the
billets are taken out and seen to be burning; nevertheless no
difficulty is experienced in securing necessary data as con-
tained in the originals.
The bowl, of circular form, like a Lota, is double, tapering
from the bottom up to neck; in partition formed by the two
walls is inserted waste and blank messages, these being the
ones burned. The bowl is bottomless, resting upon an orna-
mental stand, which has a corresponding aperture, thereby
27
ON THE OTHER SIDE OF THE FOOTLIGHTS
permitting the collected missives to go through bowl into
stand.
After messages are destroyed assistant carries entire
paraphernalia off stage, or, while the cremation is in process,
bowl is carefully placed upon another stand, the former,
with base, carried away and original envelopes opened.
The bowl may also be rested upon a stand or small table,
with a square center leg, similar to those in use by lodges.
The leg portion is hollow throughout and permits of the mes-
sages, through a hole in stage floor, to drop into a container
placed there; in the latter effect it is necessary that bowl
should remain in position until curtain is lowered. Due to the
fact that most modern theater owners object to cutting holes
in stage floor it cannot always be put into practice.
BOWL AND TONGS:
Where but few questions are to be answered, or for dem-
onstration purposes, the following is quite convincing.
To a casual observer the moves appear as follows: Per-
former has several questions written and sealed in envelopes,
the same being kept in possession of writers until collected
by him. Advancing to each one individually, an envelope is
grasped by means of a pair of tongs and, without any false
or suspicious moves, this identical billet is dipped into a vase
in which a fire burns. By means of the tongs envelope is
brought out of vase, seen to be in flames and dropped again
into the bowl of fire. The balance of messages are so treated,
the idea being to convince beyond any lingering doubt that
contents of envelopes are not accessible, or have been at any
time throughout the routine. Envelopes are collected by
means of tongs to preclude the possibility of substitution, like-
wise exhibited in flames to prove destruction. Despite all these
28
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apparently fair and above board moves the contents are con-
veyed to performer by an assistant, according to method
chosen.
What performer desires to impress upon the mind as
having taken place, actually is not consummated. The mes-
sages are collected fair enough and no substitution takes place,
but inside the vase are two compartments, one containing
alcohol, which accounts for flames issuing from bowl, and
another smaller one, which is detachable, and may be slid out
or removed from the bowl at will.
Apparent burning of the envelope is nothing more or less
than the alcohol burning; itself is at the most only slightly
scorched, for after being exhibited ablaze for a few seconds it
is inserted into the small container, which action extinguishes
the blaze.
The performer having disposed of those messages to be
answered enters a discourse or explanation of what has just
been done, during which an assistant either carries off the vase
in its entirety or steals out the little container with unburned
envelopes therein ; they are opened and, of course, he is at once
aware of the various queries, these facts coming into per-
former's possession by any of the m.ethods explained under
the chapter, "Transmitting Contents of Messages."
In parlor or office demonstrations the medium or clair-
voyant cannot always rely upon assistance from a confederate,
making it necessary that he himself secure immediate posses-
sion of contents of messages, yet allowing questions to be
retained by the writers ; at least, if this is not the procedure,
to substitute, or in an unsuspecting manner glean the desired
information.
Where but a single caller is having an audience artifices
too numerous to mention may be indulged in, such as exchang-
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ON THE OTHER SIDE OF THE FOOTLIGHTS
ing the message by sleight of hand for a duplicate, left in plain
sight throughout, while original is opened on medium's knee
and there read, wax pads may be used or several now little
employed ruses, as mechanical means lessen the possibility of
detection.
CARBON TABLE TOP:
By no means new, this above named article was formerly
the most deceptive manner known for securing possession of
written questions, eliminating entirely any idea of fraud:
Even today it is put into practice by some.
Coming into outer office of the clairvoyant a couple of
chairs and a small round topped table alone were visible ; upon
ringing a bell the seer, who generally worked alone, made his
appearance, stating he v/as at present busy but to write out
whatever questions you desired answered and to sign your
name thereto, this paper to be secured about your person. A
piece of paper and a pencil were laid on the table top and he
disappeared into the other room. A few minutes later, being
summoned into this second office, the fortune teller seated
you opposite himself at a small table, requesting that he be
allowed to hold a handkerchief, glove or other article used
personally. After a minute or so of deep concentration he
would state: "Now, Miss (calling you by name),
please think intently of your troubles, etc.," whereupon he
would proceed to give advice or answers to the query or queries
written by yourself in outer office, after which you were dis-
missed through a private exit.
By means of the table a duplicate of your message was
secured. The center leg was hollow and a small hole bored in
center of table top ; in floor was a similar hole, under base of
table, which allowed communication with a room underneath.
Over the top of table had been placed a piece of fine white
30
ON THE OTHER SIDE OF THE FOOTLIGHTS
silk, the center tucked into hole in tabletop, and by means of
a cord affixed thereto the silk could be drawn down through
this leg into room below. When in readiness, the silk was
spread out smoothly on table, over which was placed an oil
cloth covering, its underside having been covered with a good
quality of light impression, or carbon paper, and held in place
by thumb tacks along its edges.
There was no other place to write, naturally your query
was composed on table where the blank piece of paper had
carelessly been laid, making an imprint on the silk. In all
probabilities no one was present in the second office, but it was
necessary for faker to go downstairs from this office and
after a duration of time sufficient to enable your completion of
message, draw down silk and become aware of your name and
the contents of message.
Why you were led out a private exit should be apparent;
he was busy when you entered and no one left through the
outer office.
While very convincing this procedure had its drawbacks —
that of using several tables and the work of preparing in readi-
ness for each caller.
THE INK BOTTLE:
In this method, upon being ushered into the presence of
medium or clairvoyant, you were seated at a desk containing
ink bottles, writing material, etc. A piece of paper was handed
you with a request that thereon be placed what was troubling
you or information desired, your name signed thereto, folded
over and rolled into a compact parcel to prevent any prying
eyes discovering the contents. Medium advanced to another
part of the room, turning his back so as to relieve any thought
that your writing would be visible to him : On completion of
31
ON THE OTHER SIDE OF THE FOOTLIGHTS
instructions received he returned to table, taking a position
opposite you at the table, removing cork from a small ink
bottle, asking that you insert message therein ; the cork was
replaced; a request was made that you concentrate upon the
information desired, during which time medium carelessly
fumbled with ink bottle and in a few seconds called you by
name and divulged the information requested, or at least gave
some kind of an answer to the questions actually asked.
The message itself came into performer's possession by
means of this innocent looking ink bottle, which, however, was
not just what it appeared on the surface.
These trick bottles are made of wood, painted black and
ornated with a genuine label, passing inspection before the
eyes of the most critical. A hole, the diameter of neck, is bored
through bottle and therein is inserted a piece of brass tubing,
painted black both inside and out. The action of removing
cork does not alter the appearance of commonness and the
message, apparently placed in an ordinary empty bottle, really
goes into this brass tubing. While toying with bottle it is
drawn close to edge of table, allowing of this tubing being
dropped into palm of hand, or into lap; While the moving
about is continued with one hand, the other opens your mes-
sage on knee and contents are read while apparently con-
centrating, the eyes being lowered; in some cases protected
by the hand which acts as a shield, covering the direction of
vision.
To heighten this deception most operators, after reading
slip, refolded, worked into tube and thence into bottle, so at
conclusion of reading the cork could once again be removed
and your original message handed back.
THE CLIP BOARD:
The article described herewith is the most ingenious for
32
ON THE OTHER SIDE OF THE FOOTLIGHTS
obtaining copies of messages yet to be devised. What is
passed out to the reader or to members of audience appears
to be an ordinary cHp file board, procurable at any stationery
store and in general use in most offices, as it not only holds a
quantity of miscellaneous bills, receipts, etc., but permits writ-
ing with its aid to be readily accomplished.
The genuine article is constructed of a quarter-inch board
about 9x13 inches in size ; at the top is screwed a large clip by
which papers are held in place: The one used by mediums
and others, while resembling in appearance, varies greatly in
construction.
Procure a clip as is used on these boards, also a quantity
of wall paper representing grained oak, which has the actual
appearance of wood, especially if after completing apparatus
a thin coat of shellac is appHed over all. Make a half-jnch
wooden frame approximately 9x13 inches, leaving, however,
a margin of 1 inch at the bottom and 2 inches at top, where
clip is fastened ; a panel is next cut, which fits snugly into the
frame, being held in place by invisible hinges and secured by
a screw eye, ostensibly placed for hanging up the board.
The top side of board is covered with a piece of tightly
drawn oak-grained paper, likewise the back sfde, but a label
is used to cover hinged portion of panel. With a few daubs
of paste a piece of carbon paper is fastened to front of oak-
grained paper, on the inside, and on panel is secured a piece of
plain white paper. Fastening clip in place completes the
board.
It can readily be seen that if anything is written on face
of board, a copy thereof will be transferred to the sheet on
inside of hinged panel.
Professionally used in a theater, several clip boards with
perforated sheets are passed out, similar to the method em-
33
ON THE OTHER SIDE OF THE FOOTLIGHTS
ployed with "wax pads ;" as one person fills up a slip, it is torn
off and kept by them, the board being passed on to the next.
At conclusion, boards are collected by an attendant and the
messages either removed at back of theater, or a substitution
affected, duplicate boards being carried upon stage, remaining
throughout performance and fake boards taken to dressing
room where the messages are secured.
In the case of a medium, where a single sitter is answered
at a time, he or she is handed a slip of paper and requested to
write a message ; to facilitate this action the board is handed
out, which may have a few receipted bills under clip to further
banish suspicion. While the caller is engaged in filling out
his slip medium walks to another part of the room, paying no
attention to his visitor until message has been finished and
concealed; the board is taken and laid to one side on a small
table back of the seeker for information.
A copy of message is inside the board and it becomes
necessary for medium to gain possession without attracting
attention: To accomplish a routine similar to that described
below is followed:
Picking up a crystal performer walks around room, con-
centrating therein; advancing to sitter he stands behind his
chair, within reach of the clip board ; handing crystal to visitor
a request is made that he concentrate upon his question while
gazing into the sphere. The worker keeps one hand on the
back or head of sitter, the other reaching over, securing pad,
opening flange and reading carbon copy now exposed to his
view. The information can then be transmitted to sitter,
either by performer taking back crystal, or by both gazing
into its depths.
TRANSMITTING CONTENTS OF MESSAGES:
A major portion of the methods explained are in vogue, or
34
ON THE OTHER SIDE OF THE FOOTLIGHTS
have at some time been used by crystal gazers ; many of these
systems were put to use by mediums or fortune tellers, how-
ever, this chapter dwells principally with the professional
gazer, who in reality creates more mystery than a medium as
he works on a lighted stage, surrounded by hundreds of people,
walks around unrestrained, in full view of all, and even comes
down amongst his audience. The answers may or may not fit
the exact question asked; the same procedure as explained
under "Wax Pads" holds good in all these methods; further,
it should be borne in mind that only the asker actually knows
the contents of this individual message ; the balance of several
hundred hear a lot of information imparted, which may not
directly fit into the question, or be somewhat evasive, and take
it for granted that he is indeed a reader of minds and a
prophesier, especially in view of the fact that seldom, even
when imparted information is not correct, will a denial be
forthcoming from a writer.
DIRECT CONNECTION TELEPHONE:
The telephone system has been used more than any of the
various methods ; it is the simplest in operation and dispenses
with a least amount of delay. Its principle is that of an ordi-
nary telephone in daily use.
Up in the wings, organ loft, a booth, or in some spot where
operator thereof can keep performer in view, and still be in-
audible, is located a set of three dry batteries and a sending
instrument. On the stage is placed a rug, which is interwoven
with fine wire, two different series being used in order to form
a positive and negative pole, the wire from one pole leads off
stage, or dov/n under stage to one part of the sending instru-
ment or mouthpiece, from the opposite side, or positive pole
another wire connects with the batteries and thence to mouth-
piece.
35
ON THE OTHER SIDE OF THE FOOTLIGHTS
Receiving instruments are fastened in turban used by per-
former, being in such a position that they will fit over the ears,
though generally but one ear-piece is utilized, the wires from
ear-pieces come together inside turban and hang slightly
below it, ending with a plug arrangement, which is concealed
by a broad ribbon at back of turban ; The performer's shoes
have a brass plate on the sole, to which is attached from
inside a small copper wire; this covered v/ire leads up each
leg, joining on the back and coming out at neck, where receiv-
ing part of the plug is loaded. When head-piece is in place,
plug connected at back of neck and performer stands on rug
with one foot on a positive pole and the other on a negative,
he is making a direct connection, thereby enabling him to hear
anything spoken into transmitter or mouthpiece. He may
walk about on the carpet and as long as his shoes make con-
nection through two separate poles, is in direct touch with the
sender. One object of this plug at back of neck is to enable
performer to remove head-piece when switching to another
method, thus averting any suspicion on the part of those who
might be somewhat familiar with this telephone method.
Some performers run rugs up to edge of steps leading into
audience and even down the aisles, enabling them to move
about with perfect freedom.
INDUCTION SYSTEM:
Practically identical with the above explained version, but
more limited to use as performer has to keep within a certain
radius of the coils laid under rugs or about stage. A great deal
of wire is necessary to manufacture these induction coils
and the only gain is through performer dispensing with copper
plated shoes and body wires, all necessary apparatus being
concealed in turban or upon the operator's back.
Experience has shown that wireless or induction method
36
ON THE OTHER SIDE OF THE FOOTLIGHTS
is not as reliable as direct connection, the professional adher-
ing to the former.
At this time experiments are being conducted with a phase
of wireless, dispensing, however, with induction coils, which
when perfected will permit performer, carrying a small
amount of apparatus concealed about his person, to cover the
entire area of a hall or theater and still be within hearing dis-
tance of his sending operator.
It is advisable that the sender be located in such a position
that performer is at all times within his range of vision,
whereby a prearranged signal or certain ordinary move or
gesture denotes that another message should be transmitted,
a practiced performer being able to talk and receive at the
same time, thereby dispensing with any delay between the
finish of one answer and the start of another.
THE BLACKBOARD METHOD:
In presenting the blackboard system the only requirement
necessary for accomphshment was that stage or platform be
suppHed with wings (entrances off stage), whereby a person
standing therein would be invisible to audience, yet within
range of vision of the gazer.
When first appearing it was the most puzzling of any
methods heretofore known, the crystal gazer not being re-
stricted as to wearing apparel, had nothing concealed about
his body, used an ordinary crystal and walked unhampered
about stage.
In actual operation it was extremely simple, but like all
things in magic, the simpler the method of operation the more
puzzling the result. In front wings an assistant with messages
in his possession wrote same out on a large blackboard, per-
former walking about stage and apparently gazing into his
37
ON THE OTHER SIDE OP THE FOOTLIGHTS
crystal, in reality reading from blackboard ; when the contents
of one message was conveyed to performer and while quoting
his answer, assistant erased former message ,writing in an-
other. By memorizing two or three, operator would walk into
audience, convincing even the most doubting of his ability to
gaze into the past, present and future. If desired two assist-
ants could handle the messages, one being on right hand of
side of stage and the other on left. At this time, or during
any part of his performance, regardless of methods used, to
overcome delays, possible short-circuits, etc., questions were
faked ; that is an imaginary name was called out ; apparently
some party in back of house held up hand or acknowledged
their presence and an answer as seen fit transmitted to this
imaginary person; with a little nerve several questions can
be so handled. I know of gazers having their apparatus fail
and resort to faking the entire set of answers, but this is a
risky procedure.
In order to make a lasting impression upon those present
it is customary to employ "plants" — certain persons hired by
the performer who will endeavor to trip him up without avail,
or to whom some startling information will be imparted ; again
the exact location of some lost article may be stated; they
are used in various ways, generally for publicity tests. Not
all crystal gazers stoop to this practice, nor is it necessary in
the case of a good showman.
CUSHION AND CRYSTAL:
For the amateur gazer, or one caring to expend only a small
sum of money, a very creditable showing can be accomplished
by means of the cushion and crystal arrangement.
Performer's assistant carries in a crystal of any nature, or
a small inverted bowl will answer the purpose, which reposes
on a cushion, preferrably of a plaid or mixed cloth variety of
38
ON THE OTHER SIDE OF THE FOOTLIGHTS
cover; in right hand is concealed a stack of small cards con-
taining copied information from original queries; the cushion
and crystal are placed on a small table or tabouret, and while
straightening into position cards are left on cushion out of
sight behind crystal or gazing ball. Performer seats himself
behind table and after reading top card, in act of wiping ball
with velvet or piece of silk, turns over this card, exposing
another message. ' {j
The pillow and crystal may rest near edge of table, to
which is attached a drawer-like arrangement, or shelf below
top of table, professionally termed "a servante," into which
the cards are dropped.
A small pocket arrangement can also be made in covering
of pillow into which the finished cards are inserted.
READER STAND:
A progressive entertainer switches his methods through-
out, going from one routine to another, thereby keeping his
audience continually deceived as to a possible mode of oper-
ation; many who know some of the older methods are also
thrown off the track.
While performer is demonstrating his ability, using a cer-
tain piece of apparatus or system, an attendant brings in a
stand, upon which the crystal is later rested, and questions
answered while it remains in this position.
These stands are about 5i/^ feet over all, so that when
crystal is in place it is about on a level with one's eyes. The
base or pedestal is similar to a piano or floor lamp stick, sur-
mounted by an ornamented triangular rest for gazing ball.
This stand itself appears to audience as triangular, but the
rear portion is flat, with a holder, containing a card filled out
with names and messages by an assistant, these being easily
read while apparently gazing into the crystal.
39
ON THE OTHER SIDE OF THE FOOTLIGHTS
FARO BOX HAND READER:
A very useful piece of apparatus, one or two being con-
cealed about the person at start of performance; again, they
can be brought in by an assistant under cover of a handker-
chief, or any small object.
These readers are constructed of 18-gauge brass, being
slightly over two inches in length, one inch wide and about the
same in height ; sides and ends are made of one piece, soldered
together; the bottom piece protruding about a quarter-inch
on each side is then fastened in place. The projecting edges
are notched or milled to permit of a firmer grasp being ob-
tained on the reader; one inch from end of box is inserted a
partition or dividing wall, making a box with two equal com-
partments, a piece of brass one inch square is next cut and
affixed to a wire spring, this piece moving freely up and down
inside the end partition like an elevator ; over this end and ex-
tending a slight distance beyond is soldered a Vs-inch brass
strip, it being bent over the sides to accomplish securing in
place; the spring is now soldered to bottom of end partition,
the brass piece pushed into place beneath the i/^-inch projec-
tions, which keep it from flying out of the box ; cards inserted
in this end, over the spring part, will depress same and fifty
or more may be accommodated with ease.
Light cards 1-inch square can be cut up by any printer
and a large supply of these are kept on hand. Contents of
stolen messages are copied briefly in a small fine hand onto
cards, either before entrance on stage or while performance
is in progress.
When adopting this device at start of performance the rou-
tine is along following lines : Crystal ball is passed for exami-
nation, the gazer himself going into audience to accomplish;
in right hand trousers' pocket, or in pocket of uniform worn
40
ON THE OTHER SIDE OF THE FOOTLIGHTS
is secreted a loaded hand reader ; after examination and return
of crystal, and while enroute to platform, the reader is taken
from trousers' pocket, held in right hand until platform is
reached, when it is placed in palm of left hand, being effec-
tually hidden by the crystal.
To release cards the thumb or finger is lightly drawn across
their top, this causing one card to slide off into the empty par-
tition, balance of cards coming up flush with top, due to the
spring action; these movements are accomplished while an-
swering the previous question, during which time attention is
distracted somewhat from performer's movements.
When empty, reader is carried away under a handkerchief
or palmed out of hand and a switch made to a distinctly dif-
ferent routine; later this same process can be resorted to,
especially in a long program, or where performer has but a
few different means of working at his command.
CONCEALED READER:
At times a gazer will walk down the aisles of the hall,
with or without his turban, creating a doubt in the minds of
skeptics as to existence of fraud, should they be in possession
of deceptive methods employed from time to time- The use
of direct connection telephone has been exposed by public per-
formers, especially throughout the southern part of the United
States. This led to the adoption of mechanical devices, or
an intermingling of the telephone with methods to offset.
For instance, we will say that performance opened by the
telephone method, the user walked down aisles into audience;
those witnessing an expose will immediately be positive that
the telephone is used; even at times voicing their sentiments
as to what is transpiring. After several questions have been
treated in this manner the gazer returns to stage, handing
turban to an assistant (assistant incidentally tucks wire out
41
ON THE OTHER SIDE OF THE FOOTLIGHTS
of sight at back of neck, and again walks into the midst of
audience, calling out names and transmitting information in
answer to queries, being enabled to do so by working with a
concealed reader.
This is a small box about the size of the faro box reader,
generally less in heighth, but broader ; in each end of this box
are two reels and, traveling from one to another is a roll of
paper, containing copied in messages. One end of the box
is secured to velvet used in conjunction therewith, the other
end open, enabling messages to be read as the paper unwinds
from one reel and is taken up on the other, this winding proc-
ess being accomplished by a milled gear on outside of box
which the performer turns with his thumb underneath velvet,
this latter having a slit cut therein so that messages can be
glimpsed as they roll up on reel; some use a trap — that is
hinged, stiffened velvet acting as a minature door, being
swung back so messages can be read, or swung into place,
thereby enabling ball and velvet to be held within a foot of
one's head without anything suspicious being observed. In
actual operation, velvet is first placed across hand, with reader
resting in palm and crystal rested on tips of fingers.
READER BALLS:
In order to dispense with the velvet or silk always asso-
ciated with a crystal, methods were devised whereby the ball
could be held at finger tips, and both hands shown unmis-
takably empty.
Probably the simplest constructed and least expensive is
the Reader Ball, an article first explained and manufactured
by myself, reducing greatly the price as compared to an ex-
penditure necessary to procure a "mechanical ball."
In spinning metal circular objects, such as gazing balls,
they are made in two parts ; thus a 5-inch ball consists of two
42
ON THE OTHER SIDE OF THE FOOTLIGHTS
shells or half balls 5 inches in diameter at their center ; inside
one shell is soldered a thin strip of 14-in brass; second shell
is then fitted into place, a slight mark being made on rims
to insure the best location as to junction; shell is removed,
soldered apphed to 14 -inch strip, shell again put in place where
marked and sweated to the strip ; after polishing down a coat
of nickelplate is applied — it is now a gazing ball.
Reader balls are constructed by taking one shell, cutting
therein near its wider part a slot 2^x1^8 inches, inside this
shell is soldered a light strip of brass in the form of a square,
minus one side, making a bracket inside about 1 inch below
its surface, so that an object inserted through projection will
not drop into ball.
A specially constructed faro box reader, having no bottom
on the well portion, or side into which cards drop when pulled
off their container, is carefully fitted into this slot so that it
will remain in place at any angle, but can be removed with
the fingers for loading. Top of fargo box is nickeled, the two
halves of ball sweated together, and given a coat of nickel-
plate, which completes the labor on this article.
In practical application it is necessary, if used at beginning
of performance, that messages are obtained in sufficient time
to permit of their contents being copied into the small cards
and placed in the reader ; otherwise an assistant can fill in the
information and bring in reader ball later at conclusion of
different routine.
When cards have been inserted and reader pushed into ball
it is ready for immediate action: This apparatus is held at
finger tips, with very slightly protruding reader towards your-
self so as not to be visible to those in balcony or boxes. The
cards are pulled down as with faro-box reader behind ball, but
in this case they drop into the ball itself, eliminating danger
43
ON THE OTHER SIDE OF THE FOOTLIGHTS
of expose by cards possibly falling out of reader onto floor,
which would otherwise be the case, due to angle at which held.
MECHANICAL BALLS;
The latest addition to the programs of modern crystal
gazers and by far the most easily worked and useful piece of
apparatus in the whole category is the one under this caption.
It consists of a 5-inch metal ball ; inside of it, by means of
gears, is rotated a wheel containing messages, which flash by
a small window or slit cut in ball. There is nothing whatever
concealed in the hands, the rotating operation is caused by a
very shght movement of thumb on projecting gear wheel and
performer's movements are unlimited ; by turning ball over so
window rests in palm of hand he may freely hold same within
a few inches of a spectator's eyes without disclosing that it is
anything but an ordinary metal ball.
Due to the wonderful results obtainable by means of this
mechanical device, detailed directions for constructing are
given, but it should not be attempted by a person unless pos-
sessed of considerable mechanical ability.
First secure the two half shells (5-inch ball) — the collar or
band to be used in fastening these halves together is next
soldered in one portion; 1/16-inch brass braces for the axle to
rotate in are fastened in ball two inches apart, so that axle
will rest at exact center of ball. The rotating wheel should
be 41/2-inches in diameter by li/o-inches wide, and for this pur-
pose an aluminum wheel can be cast from a castiron pulley of
this size : A pulley or iron company will make one for two or
three dollars. On one side of axle, outside of brace, is fastened
a 1-inch, 32-tooth standard gear wheel of i/g-inch thickness,
fitting into another of the same dimensions, set in place on
axle-brace as shown in illustration; the latter wheel is ope-
44
ON THE OTHER SIDE OF THE FOOTLIGHTS
rated by a 1 1/2-inch gear-wheel, being in such position on axle-
brace that it protrudes very sHghtly through a slot cut in half
shell containing axle-braces and collar. Slots are next cut in
the braces as a rest for axle, which is held in place by a clip-
like device, allowing of the rotating wheel being lifted out of
shell, yet when locked preventing wheel from falling out of
brace, should the entire ball be turned upside down.
After pulley wheel has been affixed to axle, gears in place,
and slot for permitting li/o-inch gear wheel to shghtly extend
outside is cut, the upper shell is fixed on collar and turned until
the best fit is obtained, mark both halves of the ball with a
lead pencil at corresponding places so that bayonet catches
may be placed in lower shell and a "teet" or projection soldered
in upper half, thereby securely holding the two halves to-
gether; on completion of this mark off your window in correct
position opposite rotating wheel and about i/^-inch above
center of upper half, taking shells apart and cutting the win-
dow slot.
To operate : Messages are written on a slip of paper, same
width as wheel, being condensed as much as possible; this
strip is pasted to the rotating wheel, fastened back inside ball,
shells put together, when a very slight movement of thumb
will cause these messages to rotate past the little window,
where they are easily read by operator.
READING FROM FACE OF WATCH:
The ingenuous and versatile performer is constantly seek-
ing new means and apparatus to throw skeptics or those pos-
sessing knowledge of common-place methods off the trail.
By writing in the names and questions in brief on a small
piece of paper and lightly pasting this to the crystal of his
watch, or with a hunting case, using crystal, upper case, and
45
ON THE OTHER SIDE OF THE FOOTLIGHTS
even the back one, at conclusion of performance the gazer still
had several messages easily accessible.
Performer would state that he had exceded the time al-
lotted to his act, but would answer three or four more ques-
tions without the use of apparatus, limiting each answer to a
space of one minute, removing watch and apparently timing
himself, but in reality reading a message ; after answering, or
while conversing, as if to verify his limit, he would again
glance at watch, securing another message. If executed as
would be natural when timing one's self there is absolutely
nothing to arouse the least suspicion and this watch method
has been the means of fooling even magicians versed in the
more widely employed routines.
READING OFF CUFF:
Working in evening dress the white cuff of shirt has been
sometimes used as a container of messages. They are written
quite small on side of cuff nearest body when arm is hanging
at the side in a natural position.
In concentrating the hand was naturally raised to forehead,
which action draws back coat sleeve and leaves the message
in plain view a couple of inches below level of eyes.
USING EDGE OF ENVELOPE:
At times, to vary the mode of procedure, performer should
dispense entirely with apparatus, stating that an endeavor
would be made to concentrate upon the envelopes themselves.
This and the following explained methods are the most decep-
tive in existence and can be added to the repertoire of a pro-
fessional without hesitation.
Several envelopes are picked up from basket, either by the
gazer or his assistant, one is placed to his forehead, a name
called out, advice communicated to writer and, if as to verify
46
ON THE OTHER SIDE OF THE FOOTLIGHTS
the correctness of his answer, he tears off edge of envelope,
reads message aloud and either returns it to writer or hands
to members seated near front of hall, conclusively proving that
he divined the thoughts of the individual seeking information.
The balance are treated similarly.
The procedure is simplicity itself. Several messages con-
tained in performer's own envelopes were opened ; contents in
brief written with a hard lead pencil along the edge of a dupli-
cate container, into which is placed the message itself and
these prepared envelopes fastened with a small clip and depos-
ited unnoticed by assistant in container within easy reach of
performer. In act of placing to forehead the message is read ;
after answering, tearing off edge with writing to extract con-
tents destroys the evidence, allowing of both message and
envelope being returned, if so desired.
This is far superior to reading one message ahead, a sys-
tem familiar to even the most untutored neophyte.
MARKING ON ONE ENVELOPE:
For a real brain teaser to even those initiated, the answer-
ing of questions in audience or on steps leading to platform,
immediately handing back unopened envelope to writer, is
without a peer. A well known crystal gazer caused much com-
ment by working along these lines.
Performer states he will dispense with the aid of a crystal,
endeavoring to concentrate upon individual envelopes, several
of which he picks up apparently haphazard from bowl or
other container; standing on steps or at bottom of same, one
of the envelopes was placed to his forehead for a second, a
name called out, envelope immediately being brought back by
an assistant to this party upon acknowledgment of his pres-
ence, and an answer given to his query. If receiver of envelope
opened it, inside would be found his original slip.
47
ON THE OTHER SIDE OF THE FOOTLIGHTS
Either the assistant or performer himself prepares for this
very effective test by opening up several envelopes as provided
by himself, removing the questions, selecting therefrom a half
dozen especially suitable ones ; contents of these messages are
written in brief on the face of a corresponding envelope, after
which they are resealed in duplicates and kept in the same
order as those on blank envelope, which is placed at bottom of
this stack and a rubber band placed around, or a clip used,
keeping all together.
This prepared stack is conspicuously placed in container,
and while performer moves his hand among envelopes, ap-
parently picking same up at random, he secures this prepared
lot and a few extras, allowing those undesired ones to drop back
into bowl, together with clip or rubber band. Slightly fanning
envelopes he reads first message on bottom one, which corre-
sponds to first or one on top of heap; as soon as the name is
called out his attendant takes and returns envelopes. This
party is requested to verify the fact that envelope contains
the question actually propounded by him, which he proceeds
to answer, and while so doing, catches a glimpse of next
message.
In this method it would be impossible to use up the entire
number of envelopes held in hand for the reason that last one
acts merely as a conveyor of information, therefore, it is well
to leave one or two unanswered, tossing the few envelopes re-
maining back into bowl.
Where more than five or six questions are to be so treated,
several envelopes can be used as note containers, being ar-
ranged in two or three series. When all envelopes above the
"dummy" are exhausted, this written on one is merely slipped
to bottom of pile in the act of fanning.
48
ON THE OTHER SIDE OF THE FOOTLIGHTS
HANDING BACK ORIGINAL QUERIES:
Practically the only apparatus for which this test is suited
is the mechanical ball, whereby no possible opportunity for
errors can occur, the messages being at all times under your
direct command, as the ball can be rotated forward or back-
ward.
To spectators the effect appears thusly : Performer having
stated it would be impossible for him to answer all questions
received, to avoid any thought of favoritism, or that he an-
S(Wered only certain persons, picks up seven, eight or more
envelopes, mostly being ones brought from home, or other-
wise provided ; this batch is given to an assistant, who remains
amongst audience. A name is called out while gazing into
crystal and to this party assistant immediately brings the
envelope, asking if it is his, and to open so as to verify eon-
tents; in the meantime the desired information in reply to
this writer is being furnished by performer.
From a stolen batch of envelopes several written on station-
ery other than your own are opened, contents copied onto
strip for use with mechanical ball, the envelopes carefully
resealed and kept in proper order. A red line or some distin-
guishing mark is placed on the slip, enabhng performer to
know when he comes to this arranged set (also when he com-
pletes the run). These envelopes having been kept in proper
order with the strip, are clipped together or laid in a comer of
the basket, bowl or other make of container. Now when per-
former comes to this mark on strip he picks up, apparently at
random, this prearranged batch, handing to assistant, who is
careful not to lose the order thereof. When he picks up an
envelope, performer calls out name written on slip, assistant
takes to him, and as convincing an answer as possible, suiting
the question, is transmitted.
49
ON THE OTHER SIDE OF THE FOOTLIGHTS
This is the strongest test in existence for the unbeliever;
apparently performer has an ordinary ball — his ears are not
covered (precluding the telephone theory) — he does not touch
envelopes but for a few seconds; they are far beyond his
range of vision ; the identical message is handed back and an
intelligent answer, or answer pertaining to the query is trans-
mitted to each individual.
TRUMPET SEANCE:
Several of these preceding methods can be utilized by the
medium in seance work, but as many of the phenomenal effects
take part in the dark, it has been necessary to devise a means
whereby answers can be given to written questions under this
existing condition.
Using the trumpet here described, medium has questions
written on small cards, which are placed upside down in a
stack upon an ordinary table; resting thereon is also
a metal trumpet, about 12 inches in height, which may be
freely examined, as there is aboslutely nothing mechanical or
fraudulent about it. Medium is securely strapped to chair,
near table — ^again all may be seated in a circle around per-
former, and the lights extinguished, leaving the room in total
darkness; suddenly a whispering voice is heard calling out
the name of the sitters to whom is imparted information per-
tinent to his question ; sometimes as from the departed spirit
in regard to whom they are inquiring; at times it may be
medium's control who conveys the facts.
As stated in the first part of this book, ties are of little
value so far as preventing freedom of action on medium's part.
The trumpet itself is ordinary, except that the smaller end
is made so as to fit tightly against operator's eye, resembling
the outer edge of an eyeglass in shape. About medium's per-
50
ON THE OTHER SIDE OF THE FOOTLIGHTS
son is concealed a block of wood, slightly larger in circum-
ference than the outer end of trumpet (usually 5 to 6 inches)
about 1 inch thick with a groove into which this end may be
inserted, the bottom of said groove being padded to prevent
any noise whatever. The block is bored out and inside is
inserted a small flash-light battery, connecting with the tiny
electric light globe near edge on inside of block; this has a
shade above it, causing the light to be thrown downward and
is connected with push button on back of block; below the
electric light globe are numerous tacks arranged to hold the
cards in place.
When the room has been darkened, medium takes out this
block, picks one of the cards off pile on table, lays on the block
between rows of tacks, inserting trumpet into grove and
placing tightly against his eye ; by pressing button on bottom
of block it illuminates the card, enabling same to be easily
read. It is necessary that this block be tightly in place and
that small end of trumpet be pressed firmly against eye, other-
wise a ray of light would be visible when the globe is illumi-
nated. The cards as read are placed together in a stack on
table, so that at conclusion of seance, when lights are turned
on, medium is in same position as at the start, cards and
trumpet appear untouched and the block has been safely
hidden away.
Not all mediums go to the trouble of having questions
written: After several tests, lights are extinguished and
thru the trumpet come whispering voices, emanating from a
spirit control, so you are informed. This is what is called
"fishing for information" — the medium pointing the trumpet
at various individuals and softly calling out portions of names,
such as Ja — Joh — May — Jo — Jha, etc., which to an excited
mind will perhaps resemble James, John, May, Mary, Joseph,
George — a name from whom you might expect to receive a
51
ON THE OTHER SIDE OF THE FOOTLIGHTS
message. Should you say "John" — the medium in a far-off
voice, through trumpet will say, "Yes, John is here and wants
to speak to you." The conversation is carried on by yourself,
answers being imparted by medium.
In the vernacular this work might be termed "raw " never-
theless it is in vogue with present day spiritualists who man-
age thereby to dupe their sitters.
READING UNDER SHEET:
Before introduction of the trumpet explained above a rou-
tine was employed in answering written questions which
proved very satisfactory and is still made use of today.
The initial proceedings were similar to those in the trumpet
seance — cards having been filled out and left on table, per-
former secured to chair and lights extinguished, names were
called out and to these parties advice or communications from
departed friends was furnished.
About performer's person was secreted a black rubber
sheet, sufficiently large to cover upper portion of the body,
likewise a small pocket flash-light.
Releasing himself from the tapes or restraints, the sheet
and flash-light were removed, cards secured from the table
and placed on lap, or held in one hand: When covered with
this black rubber sheet the light could be flashed with im-
punity; thus by holding a card close to his eyes and turning
rays of flash-light thereon the contents was readily in his
possession, and a suitable answer formulated. At conclusion,
light and rubber sheet were stowed away, cards placed on
table, hands reinserted in tape, lights turned up ; — everything
appearing as at start of experiment.
52
PSYCHIC TESTS
Under this title will be explained tests used by mediums,
clairvoyants and professional performers to demonstrate the
existence of thought transmission, spiritualistic aid in causing'
objects to move or obey commands, invisible message writing
in plain view of spectators, etc. The majority are later day
inventions, being so extremely clever and convincing it is small
wonder an uninformed person attributes the different actions
to other than human aid.
THOUGHT TRANSMISSION TEST:
Used as an introductory effect to demonstrate the existence
of thought transmission. It can be variously employed and
depends upon existing circumstances to determine the exact
effect to be conveyed to spectators.
As an opener for a crystal gazing act the user states, in
order to absolutely demonstrate the existence of thought
transmission, a simple test will be enacted with ordinary
articles.
Several small envelopes are picked up from table, likewise
a blank card, an envelope and card passed for examination and
found to be very ordinary ; with a red pencil performer writes
something on the card, unseen by anyone, plainly placing this
card in envelope, which is immediate handed to one of au-
dience to hold during the test.
To preclude the possibility of fraud or existence of as-
sistants amongst audience, two or three persons are picked
out by the members themselves to act as volunteers.
53
ON THE OTHER SIDE OF THE FOOTLIGHTS
For brevity's sake we will assume that performer is using
two people, and has secured a man and woman to assist. To
this first party the statement is made that written on card
in envelope, now held by a certain member, is written a month
of the year (day of the week color, etc.). He is asked to
concentrate his mind and when "Ready" is called out to speak
aloud the first month that enters his mind. Supposing
"January" to be the response elicited ; he is informed by per-
former that January is the month written on card — it was the
month that he was concentrating upon and therefore it was
natural that same be spoken.
Similarly is the routine employed with lady assistant using,
for instance, a number, and that 16 was the numeral she
called out.
The envelope is now taken from party holding, performer
calling attention to the fairness of the test involved, opens
same up, extracting contents and verifies the month and
number as given by members after proper concentration, im-
mediately handing out slip to those seated in his immediate
vicinity as proof of the correctness of his announcements.
In securing this result, which is not dependent so much
on skill as nerve and a boldness of presentation, performer
resorts to substitution of envelopes while right in the midst
of his audience:
The proper size of envelope to use is what is termed a
No. 2 drug envelope ; one is prepared by securing to the inside
face of it a piece of red carbon paper, its impression closely
resembling a red crayon or drawing pencil and will not smut
as easily as black paper, which, moreover, does not match up
with the ordinary lead pencil in common use. This carbon
paper is pasted lightly at the corners, impression side down,
whereby writing on outside face of envelope will be trans-
54
ON THE OTHER SIDE OF THE FOOTLIGHTS
mitted to a card therein ; it should also not extend to ends of
envelope so as to be exposed when the message is removed.
Another envelope of corresponding make and size contains a
piece of heavy cardboard, acting as a writing base ; at start of
experiment they are in the following order: At bottom of
stack the one with cardboard; on top of this the faked en-
velope, containing a duplicate card of the one to be exhibited,
which has also been sealed; on top of these two is a plain
ordinary envelope and a blank card, and it is these the seer
passes out for inspection ; taking back, after examination, the
envelope is laid on top of those in hand, then the card, making
a natural writing base ; with his red pencil in hand performer
merely goes through the actions of writing upon card, actually
sealing up a blank one and handing out to a person seated
nearby, as all this can be accomplished while standing at
bottom of steps leading to platform. The faked envelope is
now uppermost in hand and writing on it will appear in red
carbon on blank card therein.
On performer's right thumb is small flesh-colored band, the
underside having a slight piece of round-pointed steel soldered
thereto. After his instructions have been carried out as to
concentration; a certain month given by selected assistant,
and while talking to second party, the thumb traces over en-
velope this month, or whatever subject is used. When the
second person calls out a number, as shown, while reviewing
the proceedings just transpired, performer traces in this
numeral, proceeding to get rid of fake, or it may be allowed to
remain on thumb for the time being.
As the matter now stands performer holds in his left hand
two envelopes, one containing a card with an impression of
the month and number called out, and which he was supposed
to have written before starting actual test, also one containing
heavy cardboard, while a spectator holds envelope containing
55
ON THE OTHER SIDE OF THE FOOTLIGHTS
a blank card: It is necessary that this latter be exchanged
for the one which is held in left hand and this is accomplished
by what magicians term "the top and bottom change" — that is
exchanging envelope taken from spectator and leaving on
bottom of those in hand, and removing the top one; it is a
sleight that requires some practice, but once learned can be
done as a continuous movement in the midst of a gathering.
Reach for envelope in audience with right hand, facing tow-
ards holder, at same time left thumb slightly pushes over
top envelope ; when the one is secured from holder bring right
hand towards body at the same time turning body away from
sitter and as turn is being made both hands come together
for a fraction of a second whereupon fingers of left hand
grasp envelope in right, drawing it in under the other, while
thumb and first two fingers of right hand grasp the extended
or fake envelope, moving away until same is held some dis-
tance from body and slightly in the air.
All that remains to do is to tear off end of envelope, extract
cards, verify the fact that those in audience called out the
identical information as originally written by yourself. This
card can then be left with audience to pass along as confirma-
tion. Envelope should be dropped into coat pocket.
The reader probably cannot appreciate this effect until it
is given a trial or has been witnessed in use, but if performed
deliberately and with plenty of confidence, makes the strongest
psychic test of its character, suitable under all conditions.
STYLUS METHOD:
A stylus is a glass or agate pen, commonly used in former
years by railroads when compiling way-bills, through its use
being enabled to write the original in ink and at the same time
prepare a carbon copy. For this test only the stub is neces-
56
ON THE OTHER SIDE OF THE FOOTLIGHTS
sary in order to be easily manipulated inside trousers' pocket,
or the pocket of whatever costume is worn.
An exactly similar routine is employed as in preceding
method, except that writing on faked envelope is accomplished
while same is slightly clipped to a pad in pocket. At conclusion
of test it is extracted from pocket, concealed in palm of hand
and placed on top of the few envelopes visible, and top and
bottom change effected, or it is deliberately switched for the
one held by spectator while enroute to bottom steps leading
to platform.
Of these two methods the former is recommended, it re-
quiring only a fairly impressive misdirecting talk to entirely
divert attention from the hands; in any event movement of
thumb is covered from view by the bottom envelope, if held
at an angle of about forty-five degrees.
By adopting this thumb clip stylus, where only one subject
is to be covered, an exhibited blank card is placed in fake en-
velope and same held by yourself in plain view, with thumb out
of sight back of envelope. The subject is written while so
held, card removed and handed to audience for verification. I
do not recommend this method of presentation.
PARLOR THOUGHT TRANSFERENCE:
For the beginner, who desires to entertain his guests, a
practical version of the foregoing can be accomplished without
substituting envelopes, or by the stealthy writing of subjects
made known by your selected spectators. However, as in all
magical or psychic tricks, it requires a convincing manner of
presentation. This applies to every effect ; if you are not con-
vincing in your talk, you cannot impress the thoughts in the
light you desire. Convince yourself that what you say will
take place, actually does, allowing the unknown moves to be
57
ON THE OTHER SIDE OF THE FOOTLIGHTS
made in a subconscious manner, thereby lessening the atten-
tion otherwise paid to some, and also avoiding as much as
possible any chances of being detected.
In this version performer holds a few envelopes in his
hand, the top one being faked as in previous tests ; a blank card
is exhibited, on which is supposedly written with a red pencil
two, three or four subjects ; it is then sealed in envelope and
placed on top of balance of those in hand. Performer states
that he has written several objects, such as the name of a
President, letter of the alphabet, a color, etc., and by concen-
tration will endeavor to have those present call out the objects
as he himself desires; as a matter of verification a piece of
writing paper (size of envelopes) is taken, also a black lead
pencil (about a No. 3 being best to obtain satisfactory results) ,
upon which will be written the names called out. Enough
people are chosen to cover the number of objects written be-
forehand, or presumed to have been. To the first one is
communicated information that the name of a certain Presi-
dent was written on card; to concentrate when told to do so,
and when "ready" is called out by performer he or she is to
give you the name of the first President that is thought of.
No matter what name is given, performer states: "That is
correct, and to verify my assertion I am going to make a note
thereof," which he does with black lead pencil on slip of paper,
at the same time transferring this name to blank card in
envelope by means of red carbon paper.
When the final object is treated, this verification slip is
handed to one member of audience, card extracted from faked
envelope and handed to another seated a little distance away,
so that handwriting cannot be compared, at least during the
concluding part of experiment. By asking what President's
name was given, performer again verifies through party hold-
ing slip, requesting person with card to see that this was
58
ON THE OTHER SIDE OF THE FOOTLIGHTS
identically the same as written at beginning of test. Each
subject is accordingly compared and if performed properly
throughout will cause your audience to believe that you
actually incited those participating to think of exactly the
same thing as you yourself was concentrating upon.
THE WANT AD TEST:
To convince his auditors of the existence of thought trans-
mission, existing claivoyant powers or mind reading, per-
former has assistant or medium on platform concentrate upon
chosen ads, quoting same word for word.
The apparent moves or actions of performer are as outlined
below:
A complete local newspaper is introduced, handed to a
nearby spectator with a request that one of the want ad pages
be selected, suggesting, however, to avoid confusion, that a
page with ads upon but one side be chosen. After selection
this page is taken and with a pair of scissors fifty to sixty
ads are cut out and laid on a tray carried by assistant, he or
she handing them to various members present, asking that
they fold the ad over once and seal in envelope provided ; upon
completion of this work, after collecting, the entire packet is
given to any person present with a request that thirteen en-
velopes be chosen at random for use in this test. This chosen
heap performer takes and a lady or gentleman selects one,
holding in view of all ; instantly medium on stage slowly quotes
an ad; upon opening container this quoted ad is found to be
identical with the one selected; a similar routine is employed
with two additional members, the contents being correctly
called out in all cases.
Apparently this test is of the fairest, but it is not devoid
of trickery as herev/ith explained. The paper itself is ordinary,
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likewise is a free selection allowed and the actual fifty or
sixty ads cut from paper go into plain No. 2 drug envelopes,
but in right hand trousers' pocket are secreted three envelopes,
each containing a want ad placed there before performance,
these specific ads having been memorized in a given order by
the medium or assistant. If your helper is not possessed of a
retentive memory, he or she may be blindfolded, as explained
at the start of this volume, the ads copied off onto a card and
left within range of vision on table, near which assistant is
seated.
While thirteen ads are being chosen from the entire bunch
chpped from page of paper, performer stands near selecting
party with right hand in trouser's pocket, palming the three
envelopes contained therein ; as he reaches with left hand for
packed of thirteen, the three in pocket are taken out palmed
(concealed in palm of hand) and in transferring to right hand,
these three palmed ones are placed on top the roof. Envelopes
may be false-shuffled, care being used to not disturb the three
top ones, and the pack then held towards some lady with a
request that she choose one, slightly shoving over top envelope,
which is quite naturally taken, as it will be found most people
act along the lines of least resistance, and when envelope is
partly shoved into their hand it is unconsciously and as a
matter of course selected as the easiest accessible.
Performer now requests medium to concentrate and en-
deavor to convey the exact contents of this freely selected
envelope, which is done in a slow deliberate manner, as if the
task were a difficult one.
The stack of envelopes are fanned and some party chooses
one at random ; as soon as removed, close up fan, take envelope
away from selecting party with right hand, executing the top
and bottom change, previously mentioned, which leaves this
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last chosen one on bottom of stack, while performer grasps the
second of memorized envalopes, which is at once given to an-
other to hold. As in the first instance, contents are read off
by medium, envelope opened and a verification received. For
third choice performer may use this same procedure or just
carelessly hold entire pack towards a person, trusting that the
top one will be removed, it being the third of already known
ones. Should it not be selected, it is handed, apparently, to
another party, actually, however, being substituted for desired
ad by means of the formerly employed top and bottom change.
Performer at this time states his assistant could keep on
quoting the ads, but while so doing is under a great mental
strain, but believes that his assertions have already been
proved. While making this brief speech three envelopes are
palmed off the pack and dropped in coat or trousers' pocket,
thereby enabling performer to leave a packet of ten envelopes
in midst of audience, and in case a curious or suspicious
person opens them up, contents will all be found different.
A former method required the use of thirteen newspapers ;
thirteen copies of one ad, twelve of another and eleven of the
third being sealed in envelopes. These various packets were
concealed about performer's person, in upper and lower vest
pockets and substituted for selected thirteen, thereby allowing
free choice given; however, each time the hat came back to
performer another exchange was necessitated. At conclusion
the package of duplicates being switched for ten of the original
thirteen, and these were left in audience. With this latter
routine practically the same effect was produced, but for the
beginner, lacking abundance of nerve, too many substitutions
were necessary, leaving an opening for a false move or a
bungling of the trick.
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FLAP SLATES:
Slates have always occupied a position of prominence in
the repertoire of mediums, clairvoyant workers, magicians and
crystal gazers, being used either for the asker to write his
query upon, or as a means of communicating information from
supposedly departed spirits.
The oldest and probably most used version was that
whereby an ordinary school slate was fitted with a silica flap,
matching the slate. Writing placed on slate beforehand and
covered with this flap was invisible to audience, though both
sides were unmistakably shown ; in some instances being wiped
with a damp cloth or sponge.
After exhibition, the faked slate was set down for a
moment on a table fitted with a dark drape or cover, allowing
flap to drop thereon where it was invisible a few feet distant ;
a second slate proven devoid of writing was placed under the
first one, it being necessary for medium to avoid exposing
under side of slate when picking up from table. The two
now being together, with writing inside, were wrapped with
a piece of cord, a stout rubber band or enclosed in newspaper
and given to one of audience to hold; concentrating strongly
upon the thought at hand for a minute or more, medium re-
quested that slates be separated, exposing to view a message
addressed to the writer, or one of general information.
MEDIUM'S SLATE MYSTERY:
For individual use, where medium came into possession of
a sitter's information before he was ushered into his private
reading room, the following was applied with telling effect:
The chamber in which presented was never brilliantly lighted
and aromatic incense burned in a vessel or miniature idol to
disguise the odor of alcohol.
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A thin solution of ordinary library paste was used to
cover one side of slate and while still wet the message written
thereon with an ordinary slate pencil and allowed to dry.
When ready for demonstration slate was washed with a sponge
dipped in alcohol, darkening writing so as to be invisible in
the dimly lighted room ; lightly wiped with a towel it could be
laid, writing side down, on table, or placed with another slate
and given to sitter to hold between his hands; when dry the
message was plainly visible.
The use of water in lieu of alcohol would obliterate this
message.
THE BOLTED SLATES:
Among more recent pieces of apparatus are the slates
which may be passed for examination; a question is written
on a slip of paper, placed between them and they are then
bolted at the four corners, wax being used if desired to dem-
onstrated that they have been unmolested. The slates may
also be bound with twine and knots sealed.
When properly secured slates are placed in a cabinet and
on completing whatever tests are to be utilized, they are once
again passed for examination and everything found intact;
the audience are allowed to separate and discover the slip of
paper still in place, but one of these slates bears a message
addressed to writer, giving a fairly intelligent answer to his
or her query. The possibility of human aid in producing this
message seems extremly remote and has convinced more than
on edoubting person that the writing is actually performed by
an unseen spirit. For cabinet tests this piece of apparatus has
no equal.
The slates resemble the ordinary school brand, with holes
in each corner for insertion of bolts ; one is entirely unprepared
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but the second has at one end a bracket or hinged portion of
braid, held in place by a small brad; upon removal of this
brad, braid portion can be lifted up, thereby permitting of
the slate itself to extracted through this end; after reading
slip with message inserted between slates an answer is written
on the unprepared one, sliding section reinserted and brad
pushed or driven into place, all this being accomplished with-
out interference by the bolting and wrapping of slates, pro-
vided they have not been bound around their smaller ends.
The spectators take slates apart, and no matter how care-
fully examined evidence of trickery cannot be discovered about
the one bearing a message, for it is, pure and simple, an article
of ordinary design.
MECHANICAL SLATES:
Nothing ever produced for slate writing has equalled this
truly wonderful piece of apparatus, which can be worked while
surrounded on all sides, if occasion requires, but it is best to
have your audience seated in front of you. It is further nec-
essary that the information come into your possession before-
hand, through any of the various explained modes of proce-
dure.
The user introduces two ordinary looking slates, washing
on all four sides and passing out for examination; collecting
them from examiner's attention is called to the fact that slates
never leaves spectator's view for one instant, precluding any
possibility of substitution, and they are accordingly held above
his head until desired position facing spectators is reached.
Again, unmistakably showing all four sides of slates, they
are placed together, a piece of slate pencil inserted between
and several people allowed to hold, depending upon individual
taste. After proper concentration, the separation is done by
members of audience, who find a message on both slates;
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closest scrutiny fails to bring to light evidence of trickery or
preparation, so far as the slates themselves are concerned.
Utmost care is necessary in the construction of this piece
of apparatus, which is really a version of the old flap slate,
but in this instance apparatus is practically "fool proof" and
will stand scrutiny of the most observing skeptic; even if told
the secret it would require some time to actually operate.
The wooden edges of slate, around which the brade is
fastened, are wider than in an ordinary school slate, giving
the appearance of a more expensive article ; these four edges
are about 1-inch wide and one end of each slate can be pulled
back a fraction of an inch into border portion, but a strong
spring makes this action difficult unless it is properly grasped ;
as soon as released the spring carries edge portion back into
place.
A flap made of the same grade material as used in the two
slates is provided, being of the identical width and slightly
longer, so as to fit in place underneath movable sides; it is
made an exact fit and minute inspection will fail to disclose its
presence. When the two are placed together this flap is on
uppermost slate, facing the second one ; a strong pull on edge
of upper slate causes it to drop onto lower and in moving
from one side to the other a grasp is obtained on lower slate,
end pulled back and released, fastening the flap in place. Per-
former takes slates slightly apart to insert stub of pencil, at
the same time making sure that this flap is in correct position.
By writing a message on the one covered with flap and on
the inner side of this same flap, when lowered on to bottom
slate it exposes a message written on both.
This article can be used in conjunction with various tests
and defies detection.
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HINGED FLAP SLATE:
In order to dispense with writing on pads, etc., in this
version a slate is used, which remains in possession of the
sitter throughout, and will puzzle even the intelligent as to
how the Information came into medium's possession. It is not
suitable for stage use but a valuable asset in private readings,
where but one person is present at a time.
Entering medium's office there will be noticed on his table
several ordinary articles, including three slates You will be
requested to write your name, the name of some departed
friend or relative and what is uppermost in your mind at the
time being, during which medium will repair to another part
of the room, out of range, precluding any theory to the effect
that he could possibly know what was being written on slate.
Upon completion of your inquiries it was requested that
you place this written on slate face down upon the one lying
beside you; the medium took his place opposite, placing the
third one on top of the others and asking that you write
thereon the initials of this departed friend.
At conclusion of these various proceedings medium lifted
all three slates to an angle of about 45 degrees, requesting that
you gaze upon the initials just written, also concentrate
strongly upon the advice sought; after a minute or two had
elapsed slates were laid to one side and information imparted
that conditions were now suitable; the presence of a spirit
from the other world being felt.
You were informed that a certain party (the name of the
deceased friend written on slate) desired to speak to you
through intercession of medium ; your correct name was given,
and after holding your hand or hands for two or three min-
utes, an answer and some advice was forthcoming to fit that
previously written on the slate.
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It is small wonder that many persons have been made the
dupes of f radulent clairvoyants and others ; these transactions
and results produced seem beyond the power of mortal man,
and that spiritual intercession was invoke would be a natural
conclusion ; everything transpired in your immediate vicinity,
precluding the possibility of trickery, substitution of slates,
etc.
The slate given you for writing upon was very ordinary, so
was the third slate, carelessly placed a trifle beyond your
reach, but the second one, upon which you deposited that
bearing a message, contains a solution of this mystery, for
far from being supernatural it was a clever piece of apparatus,
enabling medium to obtain possession of what had been
written.
This mechanical slate was in reality a hinged one, the
hinges being concealed in lower frame ; pulling up on the op-
posite edge released entire slate portion, permitting it to fall
against table and leaving a clear view of writing on second
slate.
In operation, after you had deposited message bearing
slate face down upon mechanical one, medium placed the third
ordinary article on top of all, and on this was written the ini-
tials. Holding slates at an angle for your intent gaze was
merely a ruse, enabling medium to release slate portion of bot-
tom one, being concealed behind the others and not visible to
you; while concentrating he in turn was memorizing names
and questions written, and the finish hardly needs an explana-
tion— just close flap by allowing slates to rest flat on table,
discard to one side, and answer according to how the party
"sized up."
WEDGE AND STEEL HOOK:
Before introduction of the mechanical bolted slates, two
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ordinary articles were used (your own if furnished), tightly
bound together and knots sealed, nevertheless a brief mes-
sage was found after exit from cabinet.
To secure writing upon slates medium took a small hard-
wood wedge, forcing them slightly apart despite bindings; a
thin steel rod with a minute piece of slate pencil secured to
its end was inserted between slates and the writing accom-
plished in this manner — a crude comparison to the modern
devices used for such demonstrations,
SLATE SWITCHES:
In clairvoyance and medium readings prepared articles are
not always employed, but slates switched for duplicates
through many ruses, such as using a holder on bottom of table,
a shelf under seat of chair, switched through curtains while
held overhead — an assistant back of a curtain placing down a
duplicate set and bringing away the desired ones; this being
above the sitter's range of vision; panels in wall have been
used and artifices too numerous to mention, in these modern
days having been supplanted almost entirely by mechanical
means.
One still in vogue and often employed by the faker was
to have seven or eight slates piled upon his table with a
slightly larger one nearby; these were all washed and ex-
amined and in the event of placing your message on a slate,
which was laid on top of pile, face down, medium covered with
larger one and later carried it away with your message-bearing
one concealed underneath. After obtaining desired informa-
tion it was in the same manner replaced.
In having a previous knowledge of your query, this same
system was used to introduce a written on slate concealed at
the start underneath the larger.
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All these exchanges, switches, etc., depended to a great ex-
tent upon the systems known to each faker, and the degree of
dexterity possessed.
RAPPING HANDS:
Thread Method: Probably the most common and often
adopted means of communication with supposed spirits was
through the rapping on tables, boards, etc., developing later to
rapping hands, talking skulls, and the like.
The rapping of hands as explained under this method is
suitable only for stage use or, at least, where performer is
some distance removed from spectators.
A wax or wooden hand, presumably that of some ancient
mummy, according to the version of performer, is passed for
inspection, and it is really free from trickery.
On platform are seen two ordinary folding style of chairs,
also a piece of plate glass about three feet in length and a foot
wide, which is taken to foothghts and displayed; nothing
would prevent its being passed to audience for, like the hand,
it is devoid of preparation, used to demonstrate that electricity
cannot be a controlling factor, glass being a non-conductor;
while so exhibiting an assistant places the chairs close to-
gether, back to back, on which is laid the plate glass and hand
deposited thereon ; performer walks completely around chairs,
takes his wand and passes all around, over and below, to show
the absence of threads, wires or kindred means for moving the
hand ; once more hand is shown free of any detachments, laid
again on the glass by performer who walks to edge of stage,
but upon his command it begins to tap upon the glass in an un-
canny fashion, answering questions through apphcation of
the spiritualistic code, which is: one rap for "yes," two raps
for "no" and three for "I do not know — doubtful, or question
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is not clear." Hand can at any time be lifted from the glass,
but on being replaced immediately resumes its rapping, and
at conclusion of exhibition slides off glass into waiting hand of
performer.
A thread is stretched completely across stage, each end
being held by an assistant out of sight in wings on either side ;
this thread lays on the floor, enabling performer to walk about
chairs and to conclusively prove the absence of any connection
above or below glass; as he puts hand back a second time
assistants raise thread so that it lies across the glass and the
wrist is placed on top of this thread, which on being pulled up
by assistants working in unison causes hand to tip forward
and tap audibly upon the plate glass; needless to say it can
be lifted at any time and replaced in proper position ; also it
can be shown that no connection exists either above or below
same while in the act of tapping.
The sliding into performer's hand is accomplished by both
assistants pulling forward on thread quickly, causing hand to
glide off glass. Thread is than reeled in by one confederate,
leaving stage clear for whatever demonstration is to follow.
ELECTRIC MAGNET:
Similar results are accomplished with this article, but it is
not as simple in operation as the one previously explained.
The hand is a wax one, resting with fingers down on glass.
In wrist is concealed a quantity of iron filings, the tampering
therewith being obscured by a fancy cuff adorning hand ; it is
passed for examination, hkewise the board upon which it rests,
this latter having an electro magnet concealed in a gouged out
space, though after plugging and finishing no evidence of
preparedness is visible.
through the body of chairs down under stage run two fine
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wires connected with storage batteries. By the aid of a switch
electric current is turned on or shut off at will. These may De
located in the wings, if desired; any place not in view of
audience.
A connection is established by a spot on the board where
it comes in contact with chair, thus by turning on current
wrist is drawn down, raising fingers of hand, and when shut
off it drops into natural position, causing thereby a tap upon
the glass.
A conversation is carried on identical in all respects as
when the thread method is resorted to.
NEEDLE POINT METHOD:
Among the latter day inventions for stage seance presenta-
tion is a hand, resting upon a small board, both being passed
for examination, yet when the hand is set upon this board,
while exehibitor is in midst of his audience, it raps out answers
and conveys information at will. It is even possible for a dis-
interested person to hold one edge of the board ; hand never-
theless continues to rap and may be picked up by a spectator
while so doing.
A wooden hand is employed in this bafHing version ; it can
be freely passed for examination as there is nothing to dis-
cover. Like in the magnet version, a rap is accomplished by
fingers of hand tipping down, the weight of wrist bringing it
back into normal position. The board is the agency responsi-
ble for this seemingly impossible action; in reality it is two
pieces of wood, accurately fitted after insertion of mechanism,
finely grained and pohshed, thereby showing no junction.
Inside the board is a lever arrangement, at one end, near
center being a small metal point, like a needle, with a weighted
bottom, resting on a felt pad, opposite end is connected with a
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screw in a small cleat across bottom of this board, and by the
action of operator's finger pushing against this screw needle
point is projected fully a half-inch beyond surface of board.
In setting down hand the wrist is over this minute hole ; needle
point raises wrist, the fingers striking board and on release of
finger pressure, immediately returns to its natural position.
Operation is accomplished while board is held in performer's
hands.
This small hole in the board is further disguised by a dozen
or more performations of similar nature over its face.
WEIGHTED HAND:
In presenting, performer walked amongst audience with
examined hand on a plate of glass or piece of wood and while
in their midst caused the hand to rap out answers.
The base used for receiving raps is free from trickery, the
action being caused by hand itself, which is worked on a bal-
ance idea : The lingers are almost straight up in the air and it
tips several inches before making a tap. The hand itself is so
finely balanced that a very slight variation of board throws a
concealed weight inside, causing it to tip over and strike board,
a reverse movement brings it again into place.
Should an idea develop that tipping causes the hand to obey
its owner's commands, performer can pass to any individual,
who, slanting board as much as desired, fails to upset the
gravity thereof, due to the fact that a locking device is con-
cealed in wrist, a slight pressure rendering hand unworkable,
and instead of tipping, it will slide completely off board.
BIBLE TEST:
As the Good Book seems to lessen any thought of trickery,
its use was a great favorite with mediums in former years.
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By its aid thought transmission was demonstrated, or a mes-
sage from an apparently fairly chosen page was reproduced on
examined slates.
In the original method I will explain how it was adopted to
cause thought transmission, or the obeying of medium's will
in certain selections.
Performer first wrote out an unseen verse, or a paragraph
from any certain page in the Bible, allowing no one to view his
choice, but immediately sealing in an envelope and entrusting
to the care of one seated nearby.
The bible having been introduced, a selected individual was
given a small card or indicator and requested to insert it at
some freely chosen part, and with this card extending it was
placed to one side.
A cloth bag containing various numbered counters was ex-
hibited and any person requested to insert his hand and
remove one, keeping same in their possession.
Next some individual was asked to choose one side of the
bible, right or left.
Upon opening book where card was inserted and counting
down the number of lines, on right or left side, denoted by
chosen counter, this verse or paragraph was read and found
to agree with what had been written at start of test.
A certain page had been picked out before hand as the one
to be used by medium, counting down, we will say, twelve lines
and memorizing the verse at this location. By bending back
the book several times it would readily open at desired page,
but to simplify matters an indicator card was stuck in at this
point, not being visible when in audience as it was held towards
body. When card was inserted by spectator, on return to plat-
form, performer merely pushed it out of sight, turning the
book so his own card was exposed to view.
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Bag contining counters was a double one — various numbers
being in one partition, in the other all were No. 12 — exhibited
counters were removed from the assorted lot, but this portion
was then held closed by performer when selection was allowed,
making it impossible to pick out any but the desired number.
Using the left or right side was merely a little dodge to
make test seemingly more complicated. If you said left side,
and that was the one performer wanted, it would be left hand
page from his position! if he desired the opposite, well and
good, it was the left side from your position, the right from
his own. Opening book v/here card was seen protruding, coun-
ing down twelve lines on left hand side, this verse was read
aloud by medium, or one of those present, and upon comparison
with sealed container's contents found to agree, for the faker
knew beforehand just what verse would be chosen.
A more later version, especially suitable in conjunction
with the mechanical slates is accomplished by using a bible,
left hand page throughout being exactly the same, thus no
matter where book is opened performer is aware of the con-
tents ; right hand pages are different and consecutively num-
bered, avoiding suspicion by the leaf not corresponding with
the number of pages showing.
TALKING SKULL:
The operation and use to which applied is very similar to
that of rapping hands.
A paper-mache skull resting upon a plate glass by opening
and closing its mouth the proper number of times carried on a
conversation in the spiritualist's code.
The same principle is involved, that of a stretched thread
engaging in a protruding rear portion of jaw, a pulling thereon
causing the hinged jaw to lower, a slackening of thread
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brought it back to normal with a snap, due to a spring con-
cealed inside.
SPIRIT CLOCK:
There is passed for examination a glass dial, about 15
inches in diameter, having numerals corresponding to an or-
dinary clock ; close examination will show that there is nothing
complicated or fradulent, for it is but plain plate glass, with
a handle at the upper edge to facilitate holding same ; a pointed
or indicator on a spindle fits into an opening in center of dial,
permitting of its being revolved by the operator or one of au-
dience. The spindle being put in place, after revolving, will
stop at any desired number, reveal the universal value of spots
on a chosen playing card, etc. It may be used in midst of
audience, held by the operaotr or anyone else, or suspended
from an ornamental stand, the result always being identical.
The action of stopping at a desired number is caused by the
revolving spindle itself which is finely balanced at its center;
this center portion of indicator contains a concealed ball
weight that may be revolved by moving the back of case,
which is ratcheted into twelve positions, corresponding to
numerals on dial and in moving this v/eight by the aid of
thumb while exhibiting spindle, it will cause handle to stop
at desired number. The weight is rotated in a direction op-
posite to the order of numerals on clock dial ; thus if desired
to stop at "3," the weight would be moved into a position cor-
responding with "9" on an ordinary dial — just opposite to
usual arrangement in numbering the face of a clock.
SPIRIT PHOTOGRAPHY:
Double Envelope Method:
The results obtainable by this so-called photography are
applicable in various ways, either to cause the likeness of a
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chosen card to appear on a blank piece of paper, a reproduction
of a certain president, author, etc., or a quotation from some
chosen verse in connection with the bible trick, depending upon
ingenuity possessed by each individual user. The same divers-
ities apply in following explained methods.
For instance, a card was chosen from the pack and held by
selector; an envelope is shown perfectly empty, into which
is placed a plain blank card, freely examined; envelope is
sealed, the chosen one placed thereon and held for an instant
by a spectator; upon opening envelope a photographic like-
ness of this particular playing card appears on the previously
inserted blank.
To cause this effect the card is forced, either through
sleight of hand or making use of what is termed a "forcing
pack," all the cards, except a few bottom ones, being the same.
The user has a supply of photographs of this card to be forced,
also blank cards of the same dimensions and quality as is used
for producing the playing variety ; two ordinary envelopes are
necessary, the face with flap part carefully cut out of one;
photographic card placed inside untampered envelope; face
portion placed over this and the two flaps squared up and
stuck together, thereby enabhng envelope to be held open by
fingers without disclosing presence of card between the two
front parts ; after insertion of blank card the flap is sealed in
place ; later an edge is cut from envelope, fingers holding bot-
tom portion to keep blank card from sliding out, and the one
with picture thereon slid out of front portion, the envelope
itself being destroyed or placed out of reach, so as not to ex-
pose routine necessary to cause this apparent phenomena.
THE SAND FRAME:
In this version an ordinary looking frame is shown from
both sides and seen to be apparently free from trickery. Mem-
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bers of audience are requested to write the names of well
kno^vn prsons on slips of paper provided for this purpose.
The slips are collected and from these one is chosen by a spec-
tator; again showing frame perfectly empty, it is covered for
a few moments with a large handkerchief which, upon being
removed, discloses a picture of the personage whose name is
written on chosen slip, later being removed from frame and
passed for examination.
It is necessary to force the name as desired and this can
be accomplished by performer having secreted in palm of hand
a name corresponding to picture to be produced. After all the
slips are collected some party not participating in the writing
is given a choice, performer's own paper being forced ; in lieu
of a force accomplished through sleiglit of hand, a changing
bag or basket may be utilized. It should be borne in mind that
the different writers and members of audience are unaware of
various names written outside each individual in his own
selection.
The frame appears ordinary, however, therein lies the
whole secret ; The edges are about 1-inch wide and into these
are securely fastened two panes of glass a fraction of an inch
apart, appearing as a single pane: Top portion of frame is
hollow and before insertion of the glass is filled with sufficient
fine black sand to completely fill up this space between the two
glasses. The back is composed of a removable wooden frame,
held in place by two clips, similar to those on a plate holder
used in photographic work, its inner side being painted black
to correspond with the sand.
At start of trick performer takes off back posting, insert-
ing picture to be used, replaces same and turns frame upside
down, causing sand to occupy space between glass and com-
pletely hiding picture from view, the impression being that
back of frame is visible.
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After forcing name of the person whose portrait is con-
cealed, performer takes frame, laying thereover a large hand-
kerchief, but in so doing, under cover of handkerchief, frame
is reversed, whereby sand enters hollow portion and leaves the
picture exposed to view. The back portion of frame can now
be removed and picture handed out for inspection.
The Buckley Method :
The below described impressive version was introduced
into this country by Mr. Arthur Buckley of Australia.
A large frame about 9x12 inches is shown empty by taking
apart, there being only the outer frame proper, a sheet of glass
and a backboard, held in place by two clips.
Next is introduced several sheets of white paper the size of
frame, being shown from both sides, proving absence of prep-
aration ; one of these sheets is placed in frame and marked by
a member of audience as a means of identification and to avoid
substitution on part of operator.
Upon a card being selected from pack it is held up in plain
view; the frame handed to a member of audience, who places
one hand on either side. Taking a piece of flash paper, per-
former states that he will cause a photograph to be projected,
by this flash, of the selected card, its likeness appearing in
frame held by a party some distance away.
Paper is ignited and disappears in a sheet of flame; per-
former then takes frame, removes back, shows identifying
mark still on paper, but on opposite side is a large photog-
raphic likeness of the card just selected.
Besides the parts of this frame described above, there is
also a "fake," consisting of a stiff white board to just fit over
inside face of frame.
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The frame is lying on table, together with a half dozen or
more blank sheets and one, about the third down, containing
an enlarged photograph of a playing card, which is to be later
forced upon a member of the audience. The "fake" is also
reposing upon table, on a piece of newspaper, the back of this
fake being covered with newspaper so that its presence is in-
visible to spectators.
Performer first forces card to be used, either by sleight
of hand, or by means of a "forcing pack," and this is held by
individual selecting throughout balance of experiment: The
regular frame is now picked up, taken apart and shown to the
complete satisfaction of all to be without preparation; in re-
placing on table, after exhibition, it is layed directly over fake :
Picking up blank sheets, performer moves them from hand to
hand, but in so doing keeps the photographic one behind a
blank, holding the two sheets as one; they are reversed and
freely shown on opposite side; apparently picking one at
random, performer removes photographic sheet, face down,
holding so audience cannot see the front part thereof, and
this supposedly blank sheet is laid on glass portion of frame ;
back part is now put in place and the frame, together with
white fake picked up : Front of frame shows a white card, ap-
parently the one just laid down, but really the fake, covering
photographic card. Half of back portion can be opened by
having it hinged; this is done, allowing plain side of picture
sheet to be initialed. Performer once again shows back and
front of frame and on reaching table, as the flash-paper is
picked up, fake is allowed to drop off face of frame onto news-
paper thereon. The frame is taken into audience, being care-
ful to hold so that face part is not exposed, and given to a lady
near front of audience to hold, one hand underneath and one
above frame, thus preventing her or any other person from
seeing the now visible photograph. As soon as flash-paper is
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ignited, frame is taken from volunteer helper, lifted up and
the likeness appearing on paper therein compared with
selected card and found to be identical. Opening frame, per-
former shows it again as ordinary and verifies initials written
by a member at start of test.
This frame can be made up by a person familiar with tools
and will provide the owner with a wonderful parlor or stage
trick, out of the ordinary routine where playing cards are in-
troduced.
Photographs of Presidents or famous men may be used,
or any routine as exacted by different individuals.
TABLE LIFTING: (Old Method)
A form of trickery resorted to by mediums to prove assist-
ance from unseen spirits in causing a light table to rise in the
air, float about above the head on one hand — to all appearances
defying the laws of gravity.
As formerly used table had a small, large-headed nail or
tack driven into it near one end about its center: An ope-
rator's third finger of right hand was worn a band ring with
a notch cut therein of sufiicient size to fit into nail, under its
head. When right hand was placed on table it became en-
gaged in the nail; left hand being placed in a corresponding
position was used in steadying table when raised ; after being
in a position over his head, decreasing the weight sustained
and permitting of an easy balance, left hand was taken away.
By proper balance the table could be moved around in various
directions and even taken into audience.
The drawback to this system is the fact that hands, or at
least right hand must remain perfectly flat on table at all
times during test ; further, table could not be closely examined.
Human assistance was often suspected, so as to divert any
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doubting mind into another channel of thought, the table was
provided with an additional tack at its exact center. After
manifestations through the aid of a notched ring, operator
would allow table to rest on floor and around this center tack,
while invoking the spirits, would v/ind a stout thread, held in
the hands of two assistants out of sight in wings, or behind
screens.
Table was now caused to float several feet in the air while
operator's hands were some distance therefrom.
New Method:
To overcome the impossibility of inspection some shrewd
mind devised a mechanically operated table that would bear
the closest scrutiny, and when employed performer or medium
could disclose the tack method, requesting that a close exami-
nation be given to prove the absence of such an article.
This particular table was caused to float above performer's
head, similar to that shown in former method; it could be
taken into the midst of those present and some party allowed
to place tlieir hand on one end, performer placing his on the
opposite end, but still it rose in the air. To further preclude
the possibility of a tack taking part in this manifestation, only
the tips of fingers and thumb rested against table top.
This seemingly impossible effect v/as accomplished on the
same principle as in the "tack" method. Sunk into table top
was a steel needle rod with a ball-point head ; when in a nat-
ural position this rod was invisible and the small hole in table
top was obscured by using a checked design covering or a
striped piece of felt. To cause needle point to rise above table
top it became necessary to press down on a trap portion near
opposite end, this trap slightly depressing and working a lever
connected with needle point, thereby throwing it about a half
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inch above level of outer top. A notched ring was worn, as
shown in previous method, but as this needle point could be
pulled out over an inch it allowed of the fingers being raised
so that palm of hand did not touch ; due also to the fineness of
this protruding point and the screen offered by one's fingers,
it could be taken into audience with impunity, especially as all
suspicion relative to "tacks" had been removed.
After carrying table into audience, medium requested that
the hand be rubbed over its top to show the absence of any
"tacks" or similar articles ; then depressing table trap as right
hand went into place he engaged his ring into needle point,
requesting a lady or gentleman to lay their hands in a similar
position on opposite end ; then raising hand up until only tips
of same rested on table, it was lifted by the operator, his
volunteer assistant merely aiding in maintaining a balance.
A cloth could be placed over entire table top, but due to the
protruding point, sufficient room was available for insertion of
notched ring engaging rod and cloth, thus further bewildering
audience.
FLOATING BALL:
While caused by seemingly supernatural means, this trick
is more adaptable in the program of a magician, and can only
be satisfactorily presented on a stage or platform some little
distance from audience. A double parlor is suitable, but there
should be a drape of some dark color back of operator to blend
with thread used.
This is the way the effect presents itself to spectators :
Performer's assistant brings in a 5 or 6-inch gold ball,
apparently solid, and an ordinary hoop about 3 feet in diame-
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ter. Performer throws hoop over his head, allowing it to rest
on his neck, tosses ball into air and shows it absolutely free
from connections. Taking a position near center of platform,
he balances the ball on his hand for a few moments, then
slowly withdrawing, the sphere remains stationary, held by an
unseen force. His hands are passed below and above and the
hoop completely passed over ball, which actions prove beyond
a doubt that nothing can be connected with it. The ball is now
caused to move forward and backward, rise in the air, lower
itself, following apparently the motions indicated by perform-
er's hands. At conclusion it is tossed to an assistant or caused
to lower itself into a small box on stage.
The ball is made of paper, a globe of the world heavily
painted with bronze being commonly used; into wooden point
at one axis is forced a thin piece of wire, the protruding por-
tion being bent over so as to form a small hook.
When assistant comes onto stage he or she carries the ball,
hoop, and an ear-piece, like the curved portion of an eye-glass
temple, to which is attached a length of black silk thread, the
opposite end held by an assistant in wings; performer first
takes hoop, placing sam^e around his neck, then secures ball
and ear-piece, placing this hook over left ear (if right side is
towards audience) while apparently brushing back his hair;
the globe is freely shown and when balancing on hand the
small wire hook is inserted over thread, which in meantime
has been drawn taut by assistant ; through this assistant low-
ering or raising his end of thread the ball is accordingly raised
or lowered; following out performer's motional commands it
is caused to perform various antics.
As there is no connection above or below, the hands can be
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passed over and below, and as supporting thread is within
radius of hoop, it can be passed back and forth in the same
direction as ball and thread, thereby making a most mystify-
ing effect.
84
CLAIRVOYANCE OR SECOND
SIGHT
CLAIRVOYANCE, second sight, mind reading and thought
projection, whether exhibited on the entertainment plat-
form or in the privacy of a medium's parlor, is pure and un-
adulterated bunk. Scientists and others have investigated the
supposed supernatural powers possessed by various persons
from time to time, discloS|ing that most of these sensational
feats were merely "press agent" reports.
While some persons performed seemingly supernatural
feats and conveyed information that did not seem possible by
an ordinary mortal, a thorough investigation would reveal
trickery or pre-obtained knowledge as the basis.
The following described routines are those used by public
performers as a means of entertainment, though in some
cases they are not too particular in allowing reports to be
circulated, via the press, as to their supernatural powers of
devination.
SUGGESTED FEATS IN AUDIENCE:
In the following version, performer enters with his assist-
ant (generally a lady), stating he will place her in a state of
hypnosis, then passing amongst audience will have them sub-
mit various tests for the lady to execute. She is apparently
hypnotized, performer passes down the aisles and into his ear
is whispered tests to be undertaken, such as removing a hand-
kerchief from one man and giving it to another, tying a cer-
tain number of knots in same; removing a cigarette from a
package, placing in owner's mouth and lighting ; opening a box
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of candy and taking out a certain number of pieces and giving
to another; mussing a person's hair; taking their hat and
placing upon the head ; taking off coat and turning inside out,
and several others.
The lady is now caused, through performer's control over
her mind to enter audience, and while he is ten or more feet
distant at all times she executes various tests laid out before-
hand, presumably through aid of performer conveying this
information by mental telepathy.
The lady is not in a state of hypnosis and though a bandage
is placed over her eyes, she can, nevertheless, see various mo-
tions made by performer.
The tests themselves are not of your own making, as you
probably think, but a certain prearranged system, each desig-
nated by a certain signal, and are actually forced upon
audience. Performer bends down to a spectator and asks in a
low tone of voice what shall be done, suggesting three or four
of these tests in his routine, and again, following a line of least
resistance, you gladly grasp one of the ideas conveyed; this
is continued throughout audience, it being necessary for per-
former to remember each test as slotted to certain individ-
uals. The assistant on platform being able to see through
blindfold, has a fairly accurate knowledge of the position of
those persons participating, but coming into audience, when
opposite correct row, performer "sniffles" slightly, as if pos-
sessed of a cold, so that his assistant knows absolutely the
correct row and can go past same ; then after apparent violent
concentration by performer, goes back to correct one.
While in audience, performer is constantly moving the
hands in front of his eyes, as if they were an antenna along
which he was projecting mental instructions regarding the
actions to be carried out. In reality he is signaling with the
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fingers numbers which correspond to test to be undertaken,
position of party in a certain row, the number of articles to be
removed or knots tied, etc.
When presented by a good showman the above act, requir-
ing only a fairly retentive memory, is one of the most decep-
tive in existence and will puzzle an enlightened mind, or one
having a mediocre insight into ordinary magical routines.
PLAYING SELECTED PIECES ON PIANO:
There are two methods for presenting an act of this char-
acter, namely ; by silent and spoken code.
In the former, assistant is seated at piano on stage;
operator goes through audience requesting the names of popu-
lar pieces of music, operas, old fashioned melodies, etc., which
are whispered into his ear and without a word being spoken by
him assistant immediately plays the chorus or enough of each
piece to prove its identity. This same procedure is enacted
throughout the duration of entire act.
In the second version, person seated at piano is blindfolded
and operator amongst audience requests her to play the lady's
or gentleman's selection, or allows you to request that it be
played.
In both of these systems it is necessary that the pianist be
talented and able to play a large assortment of songs, ballads,
operas, etc., a hundred or more being listed, given a numerical
value and memorized by both pianist and operator, therefore
upon a certain number being communicated to assistant she
readily translates it into the desired selection.
In the silent code these numbers are transmitted by slight
and almost imperceptible gestures on part of performer, whose
body is divided into a chart, the forehead, ears, sides of face,
chin, shoulders, elbows, and hips representing a certain spec-
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ified number, 1 to 10 inclusive, thus with a sHght brushing
motion by the left ear, one hand on hip, hand en chin, as if
in thought, or a motion of one hand toward opposite elbow,
communicates to observing assistant the numeral correspond-
ing to selection just given operator. It is necessary that these
motions be made in a natural and matter-of-fact manner,
otherwise it would be apparent to a close observer that a signal
system was involved.
The spoken code is appHed along lines similar to those of
the "object code," explained in following pages. A prear-
ranged series of selections are given a numerical value, and
through direct query or while talking to audience, assistant
is made aware of the piece to be played upon piano. If allowed
to yourself request that selection be played, the necessary
cue is given in addressing you direct, or in requesting assist-
ant to comply with your wishes.
"OBJECT" CODE:
An object code is a spoken one in which performer blind-
folds medium on stage and enters audience; Upon being
handed various articles they are correctly described by me-
dium.
The examples cited herewith are for objects alone, but
such a code is plastic and may be applied to names as well:
A performer specializing in this branch adjusts his code to
represent sounds as in shorthand, later filling in the vowel if
necessary. A certain set contains phonetic sounds beginning
vidth A — such as "Ad" — "Ab" — "Ac," etc., on down through
alphabet and John Thompson might be transmitted as "Jn" —
Mp — Sn." These are merely basic examples, as any system
may be devised to suit individual tastes, numerals in all cases,
however, being the foundation upon v/hich built.
Again it may be used as a branch of clairvoyant work,
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operator in audience asking what information you desire to
ask of medium, and, for instance, a question regarding some
proposed journey was propounded, operator would signal
"journey," and perhaps the name of town, if communicated
by you: The medium necessarily must be a good talker and
leads up in an indirect manner to the point, similarly to
methods adopted by a crystal gazer. The "coding" can be dis-
guised by apparently talking to an individual person; the
manner in which the request for a query is placed, etc., all
this conversation being carefully followed by medium on
stage, even though she may herself be talking.
It requires years of study and practice to perfect a code
act so that it is smooth running, v/hereby no halts are neces-
sary on the part of operator or medium, enabling operator the
instant he sees an object to unhesitatingly transmit its correct
set and numerical value in this specific set, and medium to as
quickly deduce from these numerals the object itself.
The object code explained herein is made possible through
the courtesy of Mr. Arthur Buckley, who with his wife are
known as "The Australian Buckleys." During a period of ten
years this talented couple have been performing their code act
and in that time covered practically the entire globe. For
the past two years they have resided in Chicago where their
services are in constant demand at better class conventions,
banquets, entertainments and social gatherings.
The information necessary to embody in an act of this kind
is — figures, dates, amounts, countries, shapes, designs, emb-
lems, colors, materials, precious stones, metals, animals, birds,
insects, articles and names.
The figures 0 to 21 call for first attention as they form a
basis, for the whole system. Each of these numbers are rep-
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resented by a word or words, as set out in the following table :
1. Describe. 11. Can or Can't.
2. Try. 12. See.
3. Answer. 13. Do or Don't.
4. Have. 14. Go on.
5. Name. 15. Will or Well.
6. Next. 16. Then.
7. Right. 17. Here or Give.
8. Say or Speak. 18. What
9. Be Quick, look or let. 19. Now.
10. Call. 20. Tell.
0 and 10. Quick or Quickly.
"See" only retains its value when commencing a sentence.
The word "quick," when preceded by "be quick," loses its
numerical value 0 or 10 and becomes 9.
NOTE : These are the exact words as used by Mr. Buckley
in the formulation of his code. However, I have changed their
numerical value, as it would be unfair to take advantage of
his efforts, the intent being to dispense with the theory enter-
tained by some that this class of work was due to mind read-
ing, rather than a lesson in this branch of entertaining. Using
above words as a basis, either in the order shown, or changed
to suit the individual, a private code may be developed, its
limitations depending upon the amount of articles the per-
former desires to include.
The first thing to learn is the equivalent value of above
words, enabling them to be transmitted and deduced without
an instant's delay; then a series of numbers are dealt with,
endeavoring to make an as intelligent a question as possible
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with these code words that necessarily have to be inserted in
order to transmit desired information.
After the numbers have been thoroughly learned, various
sets of objects are assembled, for instance: Money, countries,
etc., as shown in a preceding paragraph. Each one of these
sets is given a numerical value: "one" (as an illustration)
designating countries; "two," money, continuing throughout
each set. Now to intelligently convey further information it be-
comes necessary to list under each set the various objects per-
taining thereto, and these are likewise given a numerical
value: Under countries would be included those most likely
to be mentioned; under metals, — gold, silver, brass, copper,
tin, bronze, etc., etc.
Upon completion you would have a list covering practically
every article liable to be handed you in a gathering of any
nature.
Each set and the article therein must be memorized by
both sender and receiver, so that the instant party in audience
is given an object, without hesitation he can form an intel-
Hgent or ordinary question, conveying to his assistant the set
number and position this particular articles occupies in said
set: As an example: a gold watch, Waltham make. A
s.entence is formed using code word to designate "jewelry,"
this being the "set," and always the first to be transmitted ; it
would also be necessary to include in your question sufficient
code words to transmit "watch" and "gold" in its position in
the metal set ; medium knows it is a watch and therefore the
"metal set" itself need not be projected; hkewise number of
Waltham occupied in jewelry set, or under the classification
listed. As it is apparent from the question itself what con-
trolling set is necessary in order that questions asked of as-
sistant may not be jerky and hesitating, also that they form
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an ordinary question. As a literal example we will say that
when performer was handed a gold watch he instantly said:
"Can you see this? What is it?" — denoting a gold watch, and
while being answered learned the make of watch, and on com-
pletion of medium's answer, such as "Yes, I can see that, it is
a watch — a gold watch," he said, "Now, the make," meaning
Waltham.
Selecting a few of Mr. Buckley's questions and answers,
in his routine they appear as follows, demonstrating that con-
tinued practice will make the hardest task appear verj'- easy
of accomplishment:
Q. — Look — say this.
Ans. — That is a razor.
Q.— Now, the kind?
Ans. — A safety razor.
Q. — Now, this.
Ans. — ^That is a comb.
Q. — Let me know the color.
Ans. — It is a black comb.
Q. — Can you see the length?
Ans. — About three inches.
Q. — Here, look at this.
Ans. — That is a pencil.
Q. — Look at this — speak up — think — look.
Ans. — That is a safety razor blade.
Q. — Here, the make?
Ans. — Gillette.
Q. — Here, do you know this?
Ans. — Yes, it is a letter.
Q.— And this?
Ans. — It's a stamp.
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Q. — Of what country?
Alls. — France.
Second Sight by Telephone:
In order to present a second-sight, clairvoyance or mind
reading act, as they are generally termed, it is not necessarj'- to
always resort to a code. Where performances are given in
a theater, the telephone may again be introduced.
In this routine it is necessary that theater aisles be wired,
using a carpet with dummy tacks, connected to wires con-
cealed between the cloth portion; these wires lead off under
stage to a plug, which connects with one leg of the chair in
which medium is seated ; from this plug they run up inside
chair to the back and terminate at a sensitive watch case
receiver, concealed in the folds of a handkerchief-blind lying
across back of chair. Medium makes her entrance, is seated,
and in securing blind in place the small receiver is tied against
her ear; party passing along aisles asking questions of per-
sons seated in audience has concealed beneath his shirt bosom
a large sensitive receiving apparatus, connected with wires
running down trousers' legs to copper plates on soles of shoe,
and in making a positive and negative connection on dummy
tacks, by the aid of batteries under stage, anything spoken or
whispered to performer, within a short distance of himself,
will be heard by medium on stage, who proceeds to quote an
answer to each individual, much in the same style as adopted
by crystal gazers.
SILENT THOUGHT TRANSMISSION TEST:
Performer enters with assistant or medium, who is taken in
charge by a committee and led from the room or hall. Dur-
ing his absence several cards are chosen, a certain number
selected to be written on an ordinary slate with a certain color
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from amongst several assorted crayons; a box of matches is
counted and placed on table, a run-down watch is next taken
and set at a specified time and also laid face down thereon;
two dice are thrown and covered with a cup. The test may be
elaborated upon to suit performer's capabilities and whims.
Upon completion of these different selections, assistant is
led into hall and upon platform, taking his place at a large
blackboard near table upon which articles are lying (some-
times a blindfold is employed) and while performer is in au-
dience, or some distance away, without a word being spoken,
he proceeds to write the names of chosen cards ; takes up cor-
rect colored crayon and writes in the number suggested be-
forehand; correctly marks down number of matches in the
box, the time at which watch is set and the sum of dice hidden
under cup.
The secret depends upon a division of the table into imag-
inary squares and the position in which various articles are
placed on these squares ; for example, we will take an oblong
table, representing numerals from 1 to 32; also designating
the name of a certain letter in the alphabet — that is "1" can
represent "A," "2," "B," and so forth ; top row also represents
various colors as to be used for the crayons or otherwise. The
slate has a small known mark as a starting point, from which
it is divided into ten imaginary squares ; thus by using posi-
tion of table in connection with the placing of slate three
numerals are communicated; should more than three be nec-
essary, crayon is used for the last one or two digits. In de-
noting value and suit of cards first four squares designate
suit or angle of card illustrates one of four suits, and the cor-
responding imaginary square shows correct number of spots ;
the dice being covered it is necessary that their value or a
total of the spots be conveyed by the cover or cup, which has
a small nick therein and is worked on a clock-dial basis — that
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is, if the nick was pointing straight up in line with table it
would designate largest number possible to throw, namely,
twelve; if total was three, this nick would be placed in the
same position as that numeral occupies on a clock dial; in
telling the time of watch, square on table designates minutes,
turning down the bow on stem designates under thirty min-
utes, or actual numerical position shown by table ; over thirty
minutes by turning bow up and placing on number that added
to 30 will transmit the correct amount ; position of hour hand
is transmitted by the clock dial principle, watch stem acting
as an indicator. Should any article be in the position of next
one, it is merely placed on top thereof. Therefore start with
slate and large objects first.
It is first necessary to practice with a table marked oif
with chalk, you placing the article and assistant calling off
numerals ; after an article can be set down without hesitation
in a desired position, the lines are erased and practice con-
tinued with plain topped table. It is also very essential that
the correct position of an article be figured out before being
laid on the table, so that this can be accomplished without
any show of study, otherwise suspicion would be instantly
aroused by your actions.
In writing on blackboard, if blindfolded, assistant should
be in such a position that he can see the table below his blind
and by figuring out various positions occupied by articles is
enabled to immediately write down the value of cards, time
shown by watch, and continue thusly with each article.
Proper practice by two persons will enable them to present
a very interesting experiment at social gatherings, though
a similar procedure to that explained has been employed pro-
fessionally.
95
SPIRITUALISTIC EFFECTS
Floating Light:
USING this trickery in conjunction with other psychic
effects or as a single item of mystification the result is
uncanny. Operator can be thoroughly searched, yet when lights
in room are turned out a small light is seen floating around,
despite the fact that operator may be securely tied to a chair.
This is accomplished by having a piece of heavy isinglass
about 1414 inches wide by 2 inches coming to a sharp point at
one end; it contains a heavy coat of luminous paint, exposed
for some time to a strong light ; this article is shoved into heel
of shoe and rests against instep, preventing its being walked
on. When lights are extinguished operator merely raises his
leg and moves it about, such action being facilitated if seated
in a chair with arms tied. If feet are bound it is necessary to
extricate himself before the phenomena can take place.
Materialization :
There are two forms of materialization, cabinet and body
production.
Very few mediums have the space, money or inclination to
resort to a pretentious cabinet, capable of the most mystifying
materializations. A cabinet as used by stage workers can be
utilized without extinguishing the lights, however, only those
in front of same remain illuminated which, instead of betray-
the interior, act as a shield, partly blinding and obstruct-
ing the view of actual occurrences. Interior of this materiali-
zation cabinet is black, consequently articles painted white
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will be visible, even though a foot or more inside. Across its
back, a couple of feet from rear wall, is stretched a black
slit curtain, behind which assistant is concealed, he or she
being dressed entirely in black, with gloves of this color and
a light dark gauze covering head and preventing this party's
eye-balls betraying their presence inside.
Tamborines, bells, etc., are played, assistant merely reach-
ing cut and grasping same unseen by spectators. Where
chairs or tables are made to rise, it is accomplished through
the aid of a stick painted black. Lights are caused to flash
about cabinet, these being nothing more than pieces of card-
board daubed v»ith luminous paint; a hand is seen floating
around and finally a ghostly form rises from the floor and
moves about; then faces m.ake their appearance, and fade
slov/ly from vision. The form seen to rise from cabinet floor
is a piece of gauze, treated with luminous paint; it is intro-
duced into the interior of cabinet by assistant, under cover of
a black cloth, and gradually raised upwards. In disappearing,
this luminous gauze is allowed to sink to floor, covered with
black cloth and removed through slit; the hand is a wax one,
painted like the form and is moved around by assistant; the
faces seen are merely those cut from magazine covers, or
otherwise provided being, like previously mentioned articles,
coated with a thin solution of luminous paint.
The most pretentious materialization ever accomplished is
in the performance offered by Hov/ard Thurston, a well known
magician. It will repay any person doubting the authenticity
of these assertions to visit one of Mr. Thurston's interesting
offerings. I am not boosting for the ticket office, but after
witnessing various crude materializations effected by me-
diums, you will see a far superior one, and no spirits from
the world beyond participated therein.
The common form of materialization adopted by mediums
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takes place in a darkened seance room. After various tests
and only upon favored occasions will it be undertaken (pre-
sumably when the financial reward is sufficient or only the
deeply engrossed disciples are present). Perhaps medium
is secured to a chair, but as explained, this offers no hindrance
to free movement. Suddenly a voice of one deceased starts
talking to the person interested and then a faint glow is seen,
a form emerges with a faint outline of a woman's face; it
whispers words of cheer, floating away from medium towards
sitters; then gradually recedes, disappearing entirely from
view. The person being communicated with will generally
affirm that it was an exact image of a departed daughter, we
will say in this case, but had the lights been suddenly turned
on it would have revealed the medium removing from the
folds of her skirt a length of gauze, surmounted by a woman's
head, coated as shown in the previous article, the floating
being accomplished through the aid of a telescopic rod.
ATYPICAL SEANCE:
In describing this seance, no particular meeting is in mind ;
it refers to generalities, for very few mediums would endeavor
to accomplish so many effects at one time.
Entering the room, after making a donation at outer door,
which you are informed is $1.00 (no war tax is paid on dona-
tions), you take a seat in the circle, medium and assistants
giving you the once over, if I may use such an expression, en-
deavoring to determine, if a stranger, whether or not your
actions are suspicious, also making note of anything that may
be used to value later on; if a regular attendant, a mental
memorandum is made so that you may be sure of having a
message communicated from a loving daughter, for the more
frequent you hear from her the oftener you will attend, and
incidentally, the more you will contribute.
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The meeting is started off by all present singing hymns,
followed by speeches from members (those on the inside),
who in excited tones tell of visits paid and messages communi-
cated to them, perhaps extolling the wonderful results ob-
tained through medium in question. Occasionally a poor dupe,
his mind saturated with fear and superstition, will describe
a vision, occurring only through pure imagination. Great
interest and intense concentration is thus worked up, like
children listening to ghost stories at bed-time; all this with
a purpose in view; that of placing the mind in a receptive
mood in order to be easily impressed by events to soon take
place.
Possibly medium makes a vivid talk, informing her audi-
tors that by great concentration she expects a visit from some
well known spiritualists, now deceased. A circle is formed,
all holding hands, v/ith medium at outer edge, the dupes
furthest away, the co-workers nearest medium. Holding
hands prevents a break in the ranks, preventing intrusion of
one at a critical moment, or the use of hands to play a flash-
light upon the spiritual worker.
If questions were written beforehand, medium is securely
bound to a chair, the messages and a trumpet placed on table,
together with a slate, a bell, or any such articles; the lights
are lowered by an assistant and medium goes through the
sickening process of entering into a trance. Lights are then
entirely extinguished and the voice of medium's "control" is
heard. She then informs them that "Grace" is here and
wants to talk to Mrs. . This woman excitedly
announces her presence, whereupon Grace proceeds to give
her valuable advice (?) in response to a question previously
written on a card. In between arrival of spirits the control
brings words of good cheer, the bell rings and the tambourine
plays. Perhaps one or two present are favored with a view
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of their departed relatives; in other words, they are mate-
rialized and communicate with the loved ones present. Finally
medium's control states that she must be going back to her
spirit world and the bell is heard to ring, finally landing with
a loud noise upon the floor, which is a signal for lights to be
turned on, and there, there lies the poor medium in a dead
trance, unaware of what has taken place and so weak that the
meeting has to be dismissed without further adieu.
And yet they fall for it — perhaps the average mind does
not dream of trickery, or look for same, so my advice is to
provide yourself with a good strong pocket lamp and when a
materialization or other phenomena is taking place, flash same
upon medium, which will discover her "control," but don't be
alone or you may need the services of an ambulance.
A reader should have no trouble in following routine em-
ployed in order to cause above manifestations.
The medium was tied to chair — one of the folding type
variety — her wrists being fastened together at sides of same,
the rope going underneath seat, whereby it does not seem pos-
sible they could be released from this position: However,
medium sits well back in chair while being tied, and no matter
how many knots are placed on the first Avrist, in tieing second
one only the end of rope is usable, so instead of tieing knots
you are making "hitches" or a slip-knot. To get hands close
enough together in order to obtain slack on this last wrist,
medium moves up so as to be on extreme edge of chair, from
which position the hands can be brought together under seat
of chair and by pulling on rope around wrist it is instantly
released ; the bell can be rung, a message written on slate, etc.
The trumpet used is one with a block fitting over its end;
materialized forms are pieces of cheap gauze. At conclusion,
while medium is re-inserting hands and making cord fast, the
bell is held between her teeth and the instant it falls onto
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floor, being given a toss so that it will not be in close proxim-
ity, lights are turned on.
There is also a reason for this hurried exit. You might
want to ask embarrassing questions, and knowing what has
transpired, if given an opportunity, something out of the
ordinary might be noticed.
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MISCELLANEOUS
UNDER "Miscellaneous" will be found effects that can
properly be termed "Magic Tricks" yet related in a way
to psychic experiments; they are all deceptive and the most
interesting of many which could possibly be embraced under
this classification.
THE LIVING AND THE DEAD:
A parlor experiment of considerable interest. Taking a
sheet of note paper, the one presenting requests a party to ,
tear into strips, illustrating his words by tearing off one of
the desired size. It is requested that on first three, or four,
names of living friends be written, while on last slip that of a
departed friend, at conclusion all of them to be folded several
times.
During the time required for filling in slips of paper,
operator walks to another part of the room, and at conclu-
sion of his instructions advances to table, and immediately
picks up pellet bearing the name of a deceased person.
An ordinary piece of note paper can be torn into five or
six strips ; performer tears off one of the desired size from top
of paper and measures off distance for remaining slips, not
having them severed until all names have been written. This
cutting up into strips is done by the aid of a ruler. The slip
torn off by demonstrator is used to show how the others are to
be folded and thus disposed of. It will be observed that all
slips torn off from now on will have two rough edges, except
bottom portion, containing name of dead person, and all the
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skill required is to spot folded up pellet with one smooth edge.
The Haunted Handkerchief:
Suitable for stage or double-parlor presentation.
Performer borrows a handkerchief, tieing a knot in one
corner, then apparently mesmerizing same it remains sus-
pended in air without visible support; it is then raised or
lowered, performer walking all around same. After various
antics have been displayed, handkerchief is handed back to
owner with knot still remaining, however, leaving no clue as
to the origin of these spooky actions.
Across stage or room, with ends running into wings or out
of sight in room, is a thread lying on the floor ; performer bor-
rows handkerchief and walks over and passes thread, which is
immediately raised by unseen assistants to a level with his
hands, and when placing the knot he actually ties it around
the thread ; assistants, following motions of performer, cause
it to cut capers around the stage, going up and down, side
ways or forv/ards and backwards or dancing around; when
lowered to floor performer may walk all about it, or when up
several feet, by one assistant, who is on a ladder, raising his
thread high in the air, he is enabled to walk under it, to one
side only.
At conclusion handkerchief is held by performer for a
few seconds, allowing time for one assistant to pull thread,
through knot before being returned to owner.
While very simple of operation, a great deal of laughter
can be created by the adoption of this handkerchief trick.
SECOND SIGHT WITH CLOCK:
Handing an ordinary alarm clock, v/hich has been allowed
to run down, to anyone present, request that they set the min-
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ute hand at any hour, laying it face down on table. It may
be covered with a cloth, if this procedure is desired to be fol-
lowed. In any event you correctly state the hour to which
this hand points, and may repeat the process as often as you
wish.
J'he secret is extremely simple. Set minute hand so as to
point to twelve then make a vertical scratch across the button
at back of clock, but see to it that this scratch is slightly wider
at the top. When button is moved, the scratch v/ill indicate
position of the minute hand, by considering it as a minature
dial, except that the mark will move in an opposite direction
to an actual dial; thus if set at four o'clock your indicator
would be at eight on regular dial; just count off in the op-
posite direction, that is, to left, and you will arrive at "four"
on reversed dial.
If cloth is used, just have one large enough to cover face
and part of side, where it is held by a rubber band, leaving
back exposed to view.
A stock article is manufactured by magical dealers for this
purpose, being a mahogany case containing a clock dial with
one hand, a sliding panel enables same to be shut off from
view. Operator can tell at what hour set by a screw in back of
this wooden frame, which revolves with the hand, it having
a small scratch to designate proper position. It is necessary
to read as on a reverse dial, the same as explained above.
PENETRATING GLASS OF WATER:
A center base table, with a circular glass top rests upon
platform, also a glass partly filled with water. Performer bor-
rows a derby hat from a member present, places a handker-
chief over glass of water and thereon rests the derby; on
command the hat is seen to gradually sink down, the glass
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apparently penetrating its crown, and when flat on table it is
unmistakably removed from the inside.
The hat is an ordinary article and may belong to one of
audience, likewise is glass partly filled with water, but the
table is not as innocent as appears from a casual glance.
In center of glass top is a piece of nickel-plated metal, the
same circumstance as an ordinary drinking glass, which can
be raised four inches above table top by performer stepping
on a trigger located in base of table; this metal extension is
connected with a plunger running dovv^n through rod support-
ing top into a compartment filled with water, which offers
enough resistance to sustain in elevated condition the weight
of metal disc and hat with partly fi.lled glass of water inside.
Below this compartment with water is another, and if a string
leading oflT stage is pulled a minute opening is made in upper
compartment, allowing water to slowly penetrate lower one,
and as the water recedes in upper compartment the plunger
also lowers until metal base is flat upon table top.
In v/orking, performer places glass of water in center of
table, but under cover of handkerchief pulls it back several
inches, at same time raising the rod with metal plate and it
is over this handkerchief rests, resembling a covered glass;
it is smoothed at back so as not to cover actual glass, which,
however, is hid by its folds. Placing hat on top of metal fake
(presumably the glass) he asks if it shall go through the
crown, or through the side, at same time turning hat over on
side, clipping top of glass of water between his fingers and
swinging into inside of hat as it is placed up right again.
When assistant pulls cord, hat and glass slowly sink to table
level, the glass is actually removed from inside the derby and
handkerchief taken away, leaving no visible signs as to how
penetration was accomplished.
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HINDOO LOTA:
This is a bowl about five inches high and six inches in
diameter, nickeled on outside and painted black on inside.
After proving empty by holding upside down, it is placed on
table or other receptacle, after which a quantity of water is
poured therefrom until again empty; the same operation is
repeated four or five times.
The open neck of this lota is about three inches in
diameter and a partition goes straight down from this neck
to bottom of lota, having a small opening at bottom ; this par-
tition creates a large compartment around the sides. To fill
this compartment lota is submerged in water until filled and
a small piece of wax placed over the air hole in top, and after
getting rid of water now in partition no more will run into it
until air is allowed to penetrate the filled chambers.
As the inside is painted black partition is invisible a few
feet distant, so performer may hold towards audience and
invert, but in placing down the wax is removed by thumb
nail Vv^hich allows water to enter center compartment to its
own level in the sides ; placing thumb over air hole this water
is dumped out, and no more will leave side chambers until
thumb is removed from air hole; each time water will reach
its own level and stop flowing into center compartment, until
entire supply has been exhausted.
THE BEWITCHED UMBRELLA:
A borrowed umbrella is taken in left hand, the ferrule laid
across open palm of right hand ; a volunteer assistant grasping
the handle is unable to lift it from your hand until so willed.
Make a loop of strong black thread of sufficient length so
that when one end is secured to suspended button on left side
and the other end is carried up across back and down right
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sleeve, looped over little finger of right hand, your right arm
is allowed plenty of freedom; yet when loop is released and
right arm extended, it will vanish up your sleeve.
Facing your audience, assistant is placed on the left ; grasp
umbrella in left hand, holding same about the middle, ferrule
to your right. Right hand grasps ferrule, allowing it to slip
into the loop snug against cloth of umbrella. Spectator takes
hold of handle, at same time your left hand slides along um-
brella up against right hand. Remove the right one, showing
empty by displaying both sides, the thread being hid by left
hand and right wrist. Place right hand, palm up, under fer-
rule, allowing loop to come between first and second fingers
and extend slightly in order to tauten thread. Left hand moves
above umbrella as if magnetising. Now have assistant grasp
with both hands, near handle, and endeavor to remove from
your palm. It will be impossible for him to do so, if thread
is taut, as the stick itself will break before the thread.
At conclusion, slide loop off ferrule, pulling up sleeve and
of course the rain stick may now be lifted with ease.
FINDING HIDDEN ARTICLES WHILE BLINDFOLDED:
Crystal gazers, clairvoyants and similar entertainers when
arriving at a town in which their engagement was to take
place, in order to create publicity, performed various tests
before their stage appearance.
One of the widely discussed feats was that of locating
some hidden object while blindfolded and accompanied by a
committee of public citizens. The group would start out from
a newspaper office, or some prominent spot in the down-town
district, either afoot, or by automobile, performer giving them
directions, such as start to the east; after a certain distance
was traversed he would again give his orders, gradually arriv-
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ing at the immediate vicinity of hidden article, when he would
take one of those participating in actual concealment, holding
him by the arm, slowly locate exact spot, and recover the
article in question.
As a general rule this test was conducted through con-
nivance with one member of the committee, he being reached
beforehand, through lodge affiliation, the payment of money,
etc., and who probably suggested this test (at the instigation
of performer).
Being on the committee that hid the object he was av/are
of its location, yet could not communicate this fact openly to
performer, but following prearranged instructions he man-
aged to obtain a seat alongside performer, holding onto his
arm or leg and communicating necessary directions to be fol-
lowed by a pressure upon the arm, such as one for turn to
right, two for left and when approaching object, three pres-
sures was a signal to dismount. Knowing that hidden object
was in the immediate vicinity, performer could continue his
former antics or, in lieu, take his confederate's arm, who by
a very slight contraction of arm muscles continued to flash
instruction signals until hidden article was retrieved.
Not every individual resorted to this form of trickery. A
few were so far advanced in muscle reading, as it was termed,
that they could tell from the relaxations and expansions of
nerves and muscles whether or not the right directions were
being followed. For instance, if a turn was made to the right,
and this was correct, the nerves would remain passive, but if
performer had made a mistake an involuntary start on assist-
ant's part was made known to performer, who changed his in-
structions. This was a slow procedure and not always sure-
fire, while the former could be relied upon, and unless satis-
factorily consummated, detracted from, rather than enhanced
the test as a drawing card for the actual performance
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THE SPIRIT ANSWER:
To members of audience is passed a dozen or so plain en-
velopes, pieces of blank paper and pencils, with a request that
they write upon this paper, or paper in their possession, any
question desired answered, sealing up in envelop and to be
sure and place no identification marks on outside of container,
for a very important reason that will later be explained.
These sealed envelopes are collected by an assistant, being
brought upon the platform and deposited in a glass bov/1
resting on performer's table. Performer delivers a discourse
upon the peculiar workings of unseen spirits, calling attention
further to what has just taken place, that envelopes are in
plain view and lack of identification marks precludes the
theory that an assistant or confederate enters into the execu-
tion of this eft^ect: To make it still fairer a boy or girl is
requested to pick out any one of the envelops, which is held
by performer in plain view and then placed in center of a
white handkerchief, whose four corners are tied together, a
moment later being deposited in a small glass bowl brought
in by assistant during the trick. Without any false moves or
substitution this bowl is passed to some well known person
with a request that envelopes be removed from handkerchief,
opened and enclosed message read. On being done it is found
that on this same sheet is written a fairly intelligent answer
to the query.
Method of working: All the articles used are ordinary,
but when envelopes are collected by assistant, on return to
stage, he palms one, or keeps concealed in band of hat, dump-
ing remainder into the bowl. Assistant retires to wings, opens
envelope, reading message, writing as intelligent an answer as
possible thereto, and reseals same in a duplicate container,
which is placed and tied in a handkerchif similar to one per-
former is to use. In bringing in sm.all glass bowl he has this
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handkerchief concealed behind it, and in setting bowl down
on table drops the duplicate handkerchief onto a servante (a
small invisible shelf attached to performer's table several
inches below its top). The choice of envelope from large
bowl is absolutely unrestricted; this selection is fairly placed
in handkerchief and tied ; it is then held in performer's right
hand and as he turns to the left to pick up small bowl with
left hand, the right for a fraction of a second goes below
table, dropping the original and picking up the duplicate,
which is deposited in the small bowl. This is a natural move-
ment, but should be studied in order to execute in a matter
of fact manner, never, of course, allowing your eyes to follow
the movements of this hand, but to concentrate upon your left
as it picks up the bowl.
It naturally follows that upon opening of message, an
answer thereto is found written in a heavy hand, so as to be
plainly visible.
The move above described will be found invaluable in
various magic tricks and psychic effcts.
THE GHOST'S MESSAGE:
A beautiful psychic experiment for parlor entertainment
consists of the following:
From his pocket the entertainer takes out a package of
cigarette papers, allowing some individual to remove one of
the tissues; while this is transpiring he lays upon the table
three pieces of paper, about two inches square, colored red,
blue and green, one of which is selected by a disinterested
party. The cigarette paper is now handed to some lady with a
request that she roll into a ball, at the same time another per-
son is asked to give you a number between 1 and 100. When
the paper has been rolled into a compact ball by assisting lady
she is asked to place it upon the chosen color, whereupon
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performer chants some mysterious words and has her again
take paper and unroll. When straightened out written upon
in the color named is found the chosen number.
In right hand trousers' pocket operator has a duplicate
package of cigarette papers, glued to a piece of stiff card-
board, facilitating the writing thereon; also three stubs of
pencils to correspond with colored papers used, being distin-
guished by notching the ends.
After laying colored papers on table and one is chosen,
he locates this corresponding colored stub in pocket, and
when number is given proceeds to write it upon the top
cigarette paper, tearing same off and rolling up in pocket as
near as possible resemble the job done by lady, bringing out
of pocket concealed between second and third fingers at their
base.
In telhng lady to set paper down, you do not specify "on
the chosen color," and when it is placed on table, state: "It
must be placed on the chosen color," proceeding yourself to
pick up her pellet with first two fingers and thumb, and when
over chosen color, your concealed paper is dropped and her's
carried away.
In presenting this experiment you should keep right hand
in pocket throughout, conveying the impression that it was a
habit, otherwise undesired attention would be directed to
your movements at the critical moment.
SACK ESCAPES:
This properly belongs entirely to the realm of magic, and
several methods are explained in books on rope and handcuff
releases, however, as it is employed occasionally by mediums
to demonstrate the impossibility of interference on their part
during a certain test, and as a matter of general information,
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will explain a few methods, enabling one to instantly extricate
himself from the folds of a sack or bag.
The Bottomless Sack:
Where an instant escape is necessary and close examination
will not be given the articles employed, a large sack, at least
three feet longer than person to occupy, has its entire bottom
removed. The sack is lying in position for assistant or medium
to step into, and when inside, the feet are placed on the bottom
folds; balance of sack is taken up over head and secured,
waxed, labeled and otherwise treated, but when lights are out
or curtain drawn, party inside merely pulls bag over the head
and after completing his mission enters sack, steps once again
on the folds and attending committee will find all seals, etc.,
absolutely intact.
Double Sack :
At times a person is fastened in one sack, which is placed
inside a larger, and the mouth of this latter one securely tied
and sealed.
In this method the inner sack has a split therein, making
escape possible, while the larger is of the bottomless variety
above described.
Stealing Slack:
When an ordinary sack is used, performer or medium con-
ceals about their person a small circular pillow of straw and
after bag is drawn above head and neck is being put in place
for tieing, the little sack, or pillow, is inserted into upper folds,
so that the cord is tied around it. When placed into cabinet,
or out of view, the person inside bag pulls dov/n this small
sack, leaving sufficient room to insert hand and pull off bind-
ings or to work them off through imprisoning sack. Upon
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entering, if this is undertaken, the small parcel is pushed into
place, taking up the slack on neck, after, of course, working
the rope or tape into position.
This method is seldom used except for escapes, as too much
time is consumed in fixing cord back into place.
Mail Sack Escape:
Undoubtedly the idea of employing a mail sack was to
lessen any thought of trickery, and the bag itself is not
tricked, being just as it appears, a heavy, leather-enforced,
canvas bag with brass bound eyelets at the top for insertion
of a l^-inch steel bar, which is locked in place after slack has
been taken in.
The secret of this escape lies in the bar itself, one end hav-
ing a large eye-bolt, which cannot pass through eyelets, the
other end being secured with a padlock, furnished by specta-
tors if so desired.
The eye-bolt end will unscrew, but removable bart is se
finely fitted as to be invisible under ordinary scrutiny. To re-
lease himself, the person inside grasps padlocked end with one
hand, through the sack, securing a hold on ej^e-bolt with op-
posite hand and proceeds to unscrew same, which will enable
the bar to pass through eye-lets. If desired to be found still
locked in sack, the bar is put in place and bolt screwed on
from inside.
The secret of this Mail Sack Escape is probably the hardest
to detect of any, and on its face will be less liable to arouse
suspicion as to tampering. Allow a thorough inspection of
the bag and only a casual one of the bar, which apparently
is but a minor factor of the apparatus.
BLACK ART:
This is essentially a stage production but in the wierd
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effects introduced certainly smacks of other than human aid.
On a stage entirely devoid of light performer suddenly ap-
pears in its center; next a wand is seen to materialize and
gently floats into his outstretched hand; walking to one side
of stage and making several passes with wand a table springs
into view; another is materialized out of thin air and caused
to float to opposite side; reaching into the air, performer
picks out a large vase, which before the eyes multiplies to
two. Objects placed in vase on one side of stage mysteriously
disappear and are found on opposite side ; many other events
transpire, such as the materiahzation of an assistant who is
decapitated and his body apparently completely dismembered ;
these pieces then being thrown towards back of stage and the
body completely reassembled. At conclusion the various
objects used are dematerialized, or caused to vanish from
sight, performer himself walking off stage or instantly van-
ishing while thereon.
The principle embodied is similar to the one explained
under the caption, "Materialization Cabinets." The back drop
of stage is black, and sides and top are enclosed with similar
colored velvet or heavy cloth, so that no ray of light penetrates
upon the stage ; along the proscenium arch and sides of stage
are rows of bright lights that partly delude audience into be-
lieving the stage is lit, but as a matter of fact so blind a per-
son's eyes that actions thereon are invisible.
Performer himself is dressed in white, and all the objects
used are of this color, being therefore visible on the darkened
stage, if not set too far back. Near rear of stage is an addi-
tional strip of black velvet, about four or five feet high and
running partly across stage, behind which the objects to be
used are concealed ; also where assistants remain ; these assist-
ants wear soft felt shoes, are completly dressed in black, with
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similarly colored gloves and black netting over head to obli-
terat the glow of their eyeballs.
The Performer's remarkable entry is made in this manner:
He is concealed back of strip running across stage ; an assist-
ant throws a large piece of black velvet in front of him and
keeps pace with him until desired spot is reached, then sud-
denly whisking velvet away performer is in view. Tables,
chairs, etc., are introduced in the same manner; if a gradual
materialization takes place, it is affected by slowly drawing
away the covering. An article placed in one vase is immedi-
ately picked up by an assistant, who unseen, carries it across
stage and deposits in the other vase. The butchery of assist-
ant is carried off by the live person stepping behind a velvet
shield and a dummy substituted, and when these dummy legs
are thrown, an unseen assistant catches and assembles, substi-
tution for actual assistant again taking place.
These acts seem to be in disfavor in the United States and
have not appeared on the boards for several years.
THE FORTUNE TELLING BALL:
A 14-inch nickel rod, three feet high, with a five-inch
weighted base to keep same in upright position, is exhibited
by performer, who also passes out for inspection a light
wooden ball five inches in diameter with a hole through its
center to permit it being placed on the nickeled rod: When
this has been done performr causes ball to run up and down,
or to answer questions by the spiritualistic code, one rise for
Yes, etc. At conclusion ball floats off the rod into performer's
hands.
At base of rod is fastened by the aid of a very small eyelet
a length of strong silk thread, running up the side of rod,
through an eyelet hole and thence off stage to a confederate.
115
ON THE OTHER SIDE OF THE FOOTLIGHTS
Performer may take stand to footlights and exhibit with-
out disclosing presence of thread, but the ball itself can be
passed into audience: When returned it is slid over rod,
which causes it in this downward flight to carry along the
thread, and confederate should feed out this slack. If thread
is pulled it will cause ball to rise the desired distance, and on
releasing, ball will fall to bottom of rod, slowly or rapidly at
will of confederate. In this manner questions are answered
by causing the ball to bob up a few inches and then settle into
place.
At conclusion a sharp pull on thread causes ball to rise
beyond the point of rod and fall into performer's waiting
hands, incidentally breaking thread, so that all may be shown
once more, if thought advisable.
THE CUT AND RESTORED TURBAN:
A folded piece of white cloth several feet in length is ex-
hibited, a volunteer assistant each holding one end ; the per-
son performing takes hold of this cloth or turban at its center,
gathering up between his hand and completely severs, expos-
ing two separate and distinct portions, while two ends are still
held by volunteers : Tieing a knot with these two ends in his
hand, they are ignited and burned; when knot has been com-
pletely consumed, the center portion is dropped and cloth
found to be completely restored.
Several artifices are employed in the presentation of this
effect, all with a similar end in view, but the one explained
herewith is the most convincing and simple of operation.
To the center of your folded cloth is lightly stitched an-
other folded portion about nine inches long ; being of the same
material and color it is inviS|ible even at a short distance;
when two ends are grasped by assistants, performer takes
116
ON THE OTHER SIDE OF THE FOOTLIGHTS
hold of center portion, containing fake, grasping turban part
proper tightly in lower portion of fist and pulling up the
sewed on section, and it is this extra strip of cloth that is
severed; in tieing knot, or in having own assistant perform
this operation, the fake is entirely removed from main turban,
but still held by fist ; the burning is done merely as a blind to
destroy extra cloth ; if it is not all burned, remaining portions
are carried away concealed by the opened fan. Releasing his
hold on turban proper it appears just as at start of exper-
iment.
CATCHING LIVE PIGEONS OUT OF THE AIR:
Correctly speaking this belongs more to the realm of
magic, being a trick or illusion, but is so impossible of solu-
tion by the ordinary observer that an explanation is given
herewith.
In presenting, performer exhibits a net about li/^ feet in
diameter, secured to the end of a five foot pole, no thicker than
a broomstick. Waving net slowly over heads of audience he
suddenly makes a quick lunge, picking a pigeon out of the air,
it being deposited in a basket held by an assistant.
That a solution of this puzzling trick hes in the handle of
net would appear beyond belief, but nevertheless it is one
of the main assets, the other principal item being the bas-
ket into which performer tosses pigeon after landing in
his net.
The handle consists of a piece of tubing about %-inch in
diameter by five feet in length generally made up to resemble
bamboo. At lower end of tubing is a slot cut for a distance
of about 7 inches ; inside of tube is a i/4-inch rod having on one
end a fake made out of feathers to resemble the wings of a
pigeon, it being attached to a spring arrangements so that
117
ON THE OTHER SIDE OF THE FOOTLIGHTS
when free from the confines of tubing it will spread out, and
at a glance resembles a live pigeon. This rod which works
fake is fastened to a sliding piece of tubing just fitting over
the handle, so as to work up and down on tube ; at bottom of
sliding tubing is soldered a projection or "teet" connecting
to rod with fake. After rod and fake are in place and secured
to sliding portion, a projecting rim is soldered at end of handle
to prevent the sliding piece coming off pole proper.
The baskets are mechanical and sometimes provided with
lids, others devoid thereof. Bottom of basket is painted black
and across the corner, same width as basket, is a metal flap,
attached to its bottom by a spring, so that it will naturally-
fly to this position and remain flat. The flange may, however,
be pulled up so that it covers one end of basket, being held
in this position by a catch, attached to a trigger arrangement
on outside end of basket, a pressure on said trigger releasing
flap and causing it to quickly take it's natural position in
basket. When ready to operate in connection with this trick,
a pigeon is concealed under the flap and assistant holds same
with hand on trigger ready to release at the proper moment.
Performer waves net around heads of audience and with
a sudden sweeping motion in the general direction of basket
held by assistant slides the collar operating fake, causing
these feathers, which are of the same color as pigeon in
basket, to project out into net, and as only a fleeting glimpse
is obtainable, spectators conclude it is the live pigeon seen an
instant later. Carrying net quickly towards basket, it is met
by assistant in an upward movement, the instant net strikes
basket, performer pulling in fake and assistant releasing live
pigeon, which due to this upward movement is projected
into the middle of basket, or even into net itself.
It is necessary that both assistant and performer carry
118
ON THE OTHER SIDE OF THE FOOTLIGHTS
out their part of the trick in harmony, otherwise two pigeons
would be visible, or fake would disappear before live one was
released from its trap.
THE OBEDIENT BALL:
There is introduced a five-inch wooden ball with a length
of cord running through a hole in its center. Operator places
one end of cord under his foot, holding opposite and with one
hand and by lifting up and dropping ball illustrates that it is
very ordinary, but, on raising the ball to top of string and
commanding same to drop slowly, it obeys, or may be stopped
at will on its downward journey.
The hole running through this ball is not cut straight, but
at a slight angle from both sides, therefore, if plenty of slack
is allowed ball will drop quickly, the same as if hole were
bored straight through; when desired to slacken speed or
cause ball to entirely stop its flight it is only necessary to hold
cord taut,
A block of wood may be bored in this manner and accom-
plish similar results.
In conclusion: While my attitude towards spiritism may
seem sarcastic, I have nothing personal against the believers
in this religion (as it is now termed). If persons can con-
vince themselves that he or she is talking or listening to a
departed friend, well and good. I maintain that a ventriloquil
medium is doing the talking ; also that these same dear friends
in ghostly robes are nothing more or less than quantities of
muslin or gauze. Neither is there any envy or hard feeling
against the worker who merely extracts a nominal fee for
witnessing a seance; I have been guilty of executing similar
frauds when performing a crystal gazing act, which was
essentially an amusement proposition, but seriously taken
by some.
119
ON THE OTHER SIDE OF THE FOOTLIGHTS
There will be suckers now and in years to come, for truly
was Barnum right. Perhaps the mediums figure that they
might as well have this easy money as someone else, and some-
times do put forth a creditable show, giving the donator a
good amusement return for his investment.
The person I do denounce and whom I have endeavored to
expose is the unscrupulous faker who strips the deluded widow,
or whoever the individual may be, of their entire savings by
causing investments in bogus stock, or any other venture.
They have no vestige of conscience, and like the vulture, prey
upon the unfortunate, regardless of results or hardships en-
dured after stripping these victims who fall into their eager
clutches.
It probably would be impossible to convince an ardent fol-
lower of seances that trickerj?^ was the basis upon which
phenomenal tests were built; that this also plays an im-
portant part in all the transactions, but, as a final word, the
late Harry Kellar, a staunch fighter against the doctrine of
spiritism and the greatest magician the world has ever known,
for many years had a standing offer of §15,000.00 that he
would, within forty-eight hours,, produce by natural means
any test or phenomena, or duplicate any feat performed by a
medium ; otherwise this sum would be forfeited to the medium.
While widely advertised this offer was never taken advan-
tage of.
120
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