Spook Show

S TA G I N G A P R O F E S S I O N A L

SpookShow Originally published by Robert A. Nelson as “The Ghost Book of Dark Secrets” with Bonus Material by William Larsen, et al, “A Spook Show In Your Parlor,” published by Floyd Thayer, and selected Rope Ties by Burling Hull. Plus, contemporary suppliers for Spook Show materials. This material is provided for informational purposes only and is intended for use by the professional magician, mentalist or hypnotist in staging a spook show or party for entertainment purposes. Not all material may be suitable for all audiences, including but not limited to young children, or adults with certain health conditions. In other words, use this material at your own risk and discretion. The publisher assumes no liability for its use or mis-use. Staging a Professional SpookShow is © Copyright 2009 by TRICKSHOP.COM. All rights reserved.

D E D I C AT E D to THOSE MISCHIEVIOUS INDIVIDUALS who like to SCARE THE YELL out of their fellow man.

S TA G I N G A PR O F E S S I O N A L S P O O K S H O W

FOREWORD The midnight theatre ghost show (if properly exploited) is invariably a BIG MONEY GETTER. Although this type of show has been mauled badly and mangled by many would-be performers, theatre managers have found it hard to resist because this type of show business does business at the box-office. Being a one-time attraction, with a quick get-away after the performance, many performers have tossed a few unrelated magic tricks together, added a “blackout bit” and called their efforts a GHOST SHOW. The amateur magicians and crude performers who have invaded this field of entertainment have had an injurious effect on the “ghost show business.” At one time several years ago, it was almost impossible to book a good ghost show, as too many “stinkers” had burned up the territory. Whether the show was good or bad, it invariably did business wherever it made its first appearance. With lurid advertising and great promise, the one time show would draw capacity audiences – THEN came the great LET-DOWN. Usually an assortment of small hanky-panky magic and the waving of a pair of luminous rags during the blackout constituted the show. Many of these so-called ghost show operators almost killed the “goose that laid the golden egg” – but with the passing of time, the situation pretty much has righted itself. Theatre ghost shows are very much in demand today – some are drawing tremendous grosses at the box office, where they are giving good entertainment value. A ghost show should be exactly what the title implies – a program of spooky manifestations and things mysterious. Various manifestations usually accredited to “spirits” should be presented – situations for comedy relief and a blackout CLIMAX that will actually SCARE the “yell” out of the audience. There is an extremely wide range of ENTERTAINING spiritualistic demonstrations that can be blended into an evening of unusual and splendid entertainment. Don’t pad your show with irrelevant magic tricks! If you are going to be a “spooker,” be a good one! Because the theatre ghost show is a money winner, it is easy to book. It does not interfere with the usual theatre policy or percentage pictures – involves no financial risk on the part of the theatre manager – and the revenue it produces is EXTRA money over the weekly gross. Consider why the Ghost Show is a Money Maker! If you understand it’s appeal to the public, you can more intelligently and better present your offering to the public. On the surface, the ghost show is an enigmatic thing! But let us ANALYZE it.

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STAGI N G A PR OF E SSI ON AL SPOOKSH OW First, it occurs at an unusual time and at a late hour. It presents a psychological opportunity for (especially) the younger generation and all would-be spectators to stay up late. It is out of the ordinary by virtue of the time of presentation and the accepted thought that midnight is the “witching hour.” Darkness and the very hour of presentation lends appeal. It challenges the personal courage of every spectator. It hints at thrills and chills – and possible danger! It reaches into the realm of “forbidden things” – it stirs a natural and exciting fear. It presents a challenge! The ghost show is a new form of thrill entertainment. It is different from any other type theatre entertainment, insomuch as it involves extensive audience participation. The spectators become a part of the entertainment when they ANTICIPATE their personal feelings and reactions to the “ghostly occurrences” that take place during the blackout and their physical contact with these unknown things. In a way, the entire audience personally anticipates and participates in the action. Thus, in advertising and exploiting the theatre midnight ghost show, the audience must be led to EXPECT ghostly things that will thrill and SCARE them. The appeal is made to their BRAVERY – their search for unusual entertainment, their EXPECTANCY of a personal thrill. It offers escape from the ordinary! The great majority of people know that ghost shows are presented with luminous props, phoney spirits and synthetic ghosts and other pseudo props. They do NOT expect to see REAL ghosts – yet fear of such things is inherent. Everyone knows that no harm can come from the DEAD, yet find half a dozen people who are willing to prove their convictions by actually walking thru a graveyard alone at midnight! After all, people are human!!!

THE THEATRE MIDNIGHT GHOST SHOW The theatre midnight ghost show should run from 50 minutes to an hour and ten minutes, and is supplemented with a moving picture feature in the form of a ‘horror or scare’ film. The picture is usually presented first, which allows more time back stage. If the movie is a good scare film, it will “prepare” the audience for the stage presentation. The show is usually booked into the theatre on a percentage basis, the net box office receipts being divided equally, after the picture rental and advertising bill is deducted. This explains why this type of show is easy to book – the theatre manager gambles only a couple of hours of lost sleep – no money – and whatever his share, that is EXTRA money. And, as stated above, if properly presented, this type of show will invariably play to capacity business. It is not difficult to frame a spook show, devoted exclusively to various presentations dealing with spooks and spiritualistic phenomena. Various feats of MENTAL MAGIC can be employed to excellent advantage – as it all falls in the realm of the mysterious.

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STAGI N G A PR OF E SSI ON AL SPOOKSH OW Naturally, the show is built around the PERFORMER and his cast of seen (and unseen) assistants. It is possible for the performer to play the role of another character, such as the “Mad Doctor” or any fictitious character. Various successful shows use “Frankenstein in Person,” “The Gorilla,” “Dr. Ghoul,” “The Raven,” “The Vampire,” “The Headless Man,” and other grotesque or frightening characters, with whom the audience have some pre-knowledge. Such ideas take the show out of the suitcase stage and evolve it into a production. It is well to use some grotesque character in the case, as well as “hundreds of unseen spirit friends.” If you use a skeleton, give it a name and identity. Refer to your dozens of unseen helpers! Several years ago, the Nelson Brothers produced the “LONDON GHOST SHOW,” and it was regarded as one of the best and most successful ghost shows because it was devoted exclusively to SPOOKS AND kindred manifestations. Herewith is given an outline of the show, with a few variations, which closely coincide with the author’s conception of today’s ghost show. The stage presentation ran an hour to an hour and ten minutes. It was presented with or without a supporting movie. The show was framed in three parts – demonstrations in full light, further demonstrations in semi-darkness and the final manifestation in total darkness. The action began in brilliant light and GRADUALLY as though the day were done, turned into darkness. It led the audience psychologically thru these three stages of light to darkness by degrees. The show was presented by Dr. Alla Rageh. The London Ghost show opened with a twenty minute routine of mindreading, crystal gazing, billet reading, mental telepathy experiments, slate writing and various visual spiritualistic demonstrations. All phases of spiritualistic phenomena were demonstrated, including “spirit force,” levitation, spirit releases, and spirit rappings. These actions took place in full light. Without a break in the show, it proceeded at a rapid pace into semi-darkness, whereby candle light, levitation of heavy tables (with spectators riding on them) was demonstrated – a miniature spirit seance, materialization of spirits in the cabinet. This was followed by a unique presentation of “spirit paintings” – all done in semi-darkness. Then came the blackout! This was accomplished by Rageh narrating a “true ghost story” of personal experience – the strangest series of events to ever happen to a human being! The narration of this very effective story required approximately twelve minutes – with the performer held center stage in a small white spot light – during which time a dropped pin could be heard! Yes, twelve minutes of patter!!!! This hair-raising story put the audience into a receptive mood for the total blackout. Warned of the approaching denizens from the threshold – the friendly and evil spirits that would contact them – of the weird and ghostly manifestations that were about to occur – DARKNESS AND the presentation of luminous ghosts, spirits – personal contact with the audience for the next FOUR minutes – then finale!

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STAGI N G A PR OF E SSI ON AL SPOOKSH OW For several years, the author has presented, not a “Midnight Ghost Show,” but using a little different approach, a “Midnight Spiritualistic Seance and Spook Party.” This performance is done in a serious vein, and possessed with comedy, and follows closely the general routine as just described. The “true ghost story” has been vastly improved, lengthened, and is narrated with all accompanying sound effects, via film sound track thru the movie speakers. This is done by gradually diminishing the light until total darkness blankets the theatre, at which time a portion of the story is DRAMATIZED visually on the stage. This involves a graveyard scene – thrilling dramatic action – pistol shots and the actual appearance of a gruesome and decayed headless corpse, with knife in hand, that emerges from the grave to spread fear and terror among the spectators. Needless to say, many new and startling scare effects have been developed and are used. Many of these will be discussed in detail later. Fundamentally, the ghost show and spook party should present exhibitions of phenomena that falls within the spiritualistic and occult category One performer consumes twenty to twenty-five minutes of hilarious time using a few stooges from the audience – who are continually plagued by the “spirits.” A well-coached stooge and a horizontal thread across the stage throw the audience almost into convulsions. If the performer is a good entertainer, he does not require a lot of props. Most Ghost Shows can be packed in a small trunk, and rely mostly on the ability of the performer to sell his ideas, serious or humorous, to his audience. The personnel will vary in numbers. The performer and one or two well trained assistants can put on an excellent show. Extra help is enlisted around the theatre to operate the ghosts, etc., during the blackout as they are not seen, or may play the part of some character, where they are completely disguised. Thus, the ghost show has a small operating ‘nut’ – hence profitable operation, even in spots where business may be off:

THE BLACKOUT The blackout is the most important part of the show. It is the portion that is eagerly awaited by your audience. It must have a shock value – it is the part of your show which either favorably or unfavorably, is remembered. In most shows, the blackout is a LET DOWN. But this can and should be overcome by more intensive effort – special effects that DO chill and frighten your audience. Manpower is required, but will be amply repaid. Visual manifestations occur for ALL spectators and the effect can be greatly heightened by suitable musical and sound accompaniment AND physical contact should be made with the GREAT MAJORITY of the audience. The object is to create utter confusion and FEAR in the minds of the spectator, if possible.

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STAGI N G A PR OF E SSI ON AL SPOOKSH OW Cleverly worded patter, you can create a great state of expectation and fear. Mention to a large audience that the theatre will be plunged into total darkness and a murmur of APPREHENSION will ripple thru the auditorium! Sow the seed of fear with suggestions, “no matter what happens, stay in your seats. If you feel the presence of spirits not of this world – a soft damp kiss upon your cheek – be not afraid – for they will be friendly spirits.” Then suddenly plunge the theatre into TOTAL DARKNESS. The climax of many a ghost show has been RUINED by not taking the proper precautions for securing TOTAL 100% darkness. Nothing is more ridiculous than for a few exit signs, the clock light, a beam of light falling from the projection booth – and revealing several assistants carrying luminous objects thru the audience on poles! A pre-check should be run on EVERY auditorium before show time to ascertain that EVERY LIGHT is completely extinguished during the few minutes of the blackout. Your best assurance is to have one of your assistants at the MASTER switch. Some theatre managers, alert to the fire laws, may object to pulling the exit lights. A little sales talk and the definite assurance the show will be a FLOP if all lights are not extinguished will usually do the trick. However, should such an argument fail, the operator should have available EXIT signs made on luminous paper or cardboard, which can be placed over the house exit box. THE TRUE IMPORTANCE OF THE TOTAL BLACKOUT CANNOT BE OVER STRESSED. The operator need not fear the presence of flashlights in the audience – IF he will inform his audience in a friendly and diplomatic manner that such actions will NOT be tolerated – that flashlights, matches, or any undue disturbances in the audience by ANYONE will cause him to IMMEDIATELY TURN up the lights, and stop the performance. Point out that it’s all in fun, and that just two or three spectators who fail to COOPERATE COULD bring the show to a premature end. Place the responsibility squarely on your audience. As an added precaution, post two or three ushers midway in the aisles. Earlier in the show, you can gain the goodwill and cooperation of your audience by promising them a “thrill” that will remain in their memory as long as they live, if they will remain quiet and gentlemanly. If a disturbance occurs in one or two spots – dominate it before it gets the best of you. Stop the show – explain in a friendly manner that you will not continue if the disturbance continues, or that you will have the unruly members ejected from the theatre. After all, at a late show, and with hundreds of youngsters, and a scattering of drunks, you must be ever alert for “smart alecks.” However, rare indeed is the situation that cannot be easily and diplomatically handled and to the performer’s advantage. To insure your own safety, various luminous markers should be attached to the stage, steps, aisles and backs of theatres by means of thumb tacks and scotch tape. These are not visible to the audience on the lower floor, and even when seen from a balcony present a ghostly sight. -8-

STAGI N G A PR OF E SSI ON AL SPOOKSH OW By marking the front and sides of the stage, you can move around with safety. Small glowing markers allow the assistants to navigate stairs, move in the aisles walking toward certain spots in the rear of the theatre. These markers are cut or torn from sheets of heavily coated luminous paper, and are activated by a photo flash bulb. If tables are present on the stage, or other obstacles, each should be marked to prevent accidents or collisions. A few seconds after the auditorium is plunged into total darkness, one or two or three photo flash bulbs should be shot from the stage into the audience. This action startles and frightens the audience, temporarily blinds them and activates your markers, stooges faces with luminous make-up and all luminous paper, whether on stage or in the auditorium, as long as they face the source of the light. All assistants and stooges should be briefed to CLOSE THEIR EYES the second the lights go out, and not open until after the flash (which they can discern with closed eyes.) Thus they escape the temporary blindness suffered by the other spectators, and be guided efficiently to their stations by the markers. Reaching rods, poles and other NON-Luminous properties should be marked with luminous paint or paper, so they can be found in the darkness. This speeds up the action, and also is a safety measure. Hundreds of people in the audience will act as your assistants. The boy with his girl friend may poke or grab her – others, out of mischief will tap the head or shoulders of others – women will scream (for no reason at all) and men will yell. Yes, you will have many unseen helpers. Your first step is to prepare your audience for the “ghosts” to create an intense state of anticipation and perhaps a little fear. Secondly, you can add to the effectiveness by the proper utilization of sound. This can be done by a tape recorder, or have suitable sounds placed on a film track, and played thru the projector (without light) during the blackout. The third phase is actual physical contacts with members of the audience.

SOUND EFFECTS Extremely realistic screams – weird musical effects, groans, yells and all kinds of gruesome patter can, and should be used during the blackout. Just as suitable MUSIC lends beauty and enchantment to create presentations, gruesome music and sound effects can lift your audience out of their seats. If you have your own tape recorder, you can buy sound records of ANY SOUND EVER MADE. You can then record these on tape recorders. Bits from several records will give you a weird assortment of sound effects. You can dupe in your own voice – with grizzly patter, screams and groans. The use of sound to attack the sense of hearing is extremely important, and involves the expenditure of only a few dollars. For sound effect phonograph records, See Record Dealers in the classified yellow pages in phone books of LARGE cities. Practically every sound has been recorded and many large dealers can fill your needs. -9-

STAGI N G A PR OF E SSI ON AL SPOOKSH OW Entire musical backgrounds can be easily placed on tape recorders offering a superb accompaniment up to a full hour. Ghost show operators, magicians and all mystery workers would do well to investigate the tremendous possibilities of a tape recorder. At a special mammoth party of Tent #2 Variety Club, the author framed the “Hermit’s Cave.” This was a mysterious dungeon in semi-darkness thru which all attendees were required to pass. They encountered cob-webs in their hair – unseen contacts, flashing ultra violet lights, warnings, a fresh grave, spooks, the Headless Man, all to the accompaniment of continual weird sounds and an intense thunderstorm. Using a $2.00 thunderstorm record and especially prepared patter by “The Hermit,” the two were duped together on a one hour tape recording and was truly sensational, and contributed much to the effectiveness of the Hermit’s Cave. The actual visual and physical manifestations of the blackout can best be described by giving a factual account of the First Radio (blackout) spook show ever presented, (WE THE PEOPLE), October 28th, 1947 in the CBS Radio Theatre, New York City, and broadcast ever 117 CBS stations. This show was presented by the author and one trained assistant, plus several members of the studio staff. SEVERAL new effects were most successfully used in this radio show, which can again be duplicated on other broadcasts, or used as a PATTERN FOR THEATRE SHOWS. A full description and detailed technical explanation follows:

WE, THE PEOPLE” RADIO GHOST SHOW The studio audience comprised approximately 2200 spectators, and due to limitations of time and last minute program adjustments, the time of the “ghost bit” was cut to less than four minutes. Mr. Nelson was introduced to the radio audience by the Master of Ceremonies, Dwight Weist, and then followed a short discourse on the ghostly activities of the author. In answer to “How do you haunt a house?” Mr. Nelson replied that he would like to SHOW the radio audience just how this is accomplished. After a suitable warning and build-up, the studio theatre was plunged into total darkness. Ghosts, skeletons, images and all sorts of weird visual effects appeared all over the theatre and physical contact was made with hundreds of spectators. Mr. Weist kept up a running description of the happenings, though his voice was almost inaudible due to the intensive screaming and yells from the audience. The blackout ran about two minutes, and the various manifestations were occurring simultaneously. The theatre was FILLED with ghostly apparitions – here there and everywhere. Greatest reaction was obtained when physical contact was made with the spectators. This has to be done on a mass basis and quickly.

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STAGI N G A PR OF E SSI ON AL SPOOKSH OW Advance preparations took several hours prior to the broadcast, including a full dress rehearsal and check on LIGHTS for total darkness. Even the lights on the engineer’s control booth, program director, etc. were pulled. The M.C. read his copy from a luminous sheet – only to lose his place when a ghost unexpectedly grabbed HIM! Twelve members of the “We the People”, Inc., and studio pages assisted Mr. Nelson. All luminous properties were thoroughly activated backstage – reaching rods marked. Every obstacle, of which there were a great many – were marked with luminous markers. Every assistant was assigned a certain location and duty. They were scattered about the auditorium and back stage. A few seconds after the lights were turned out, a photographer simultaneously fired two large flash bulbs at the audience. Every member of the cast were facing this light source, and also all luminous props were exposed. Several assistants were stationed in the audience, and in the exits – exposing themselves and luminous props to the flash. One luminous skeleton and one ghost were operated from 12 foot reaching rods on the stage, with each assistant wearing luminous make-up on the hands and face. By elevating the “spooks high in the air,” each operator gave the appearance of two or more characters. All assistants working the audience, likewise wore luminous make-up on their faces. Two boys, seated in the front row, reached into the orchestra pit, and each retrieved short poles on which was mounted a luminous scare face. These two poles were tied together with a long black rope – which stretched across the middle theatre section of seats. Draped over this rope were lengths of black cotton string, which had been soaked in cold water. As soon as the lights were out, the poles were secured, rope drawn taught, and the scare faces turned toward the flash bulbs. The flash activated the scare faces, also faces of the assistants. They then turned, and slowly walked up the aisles, dragging the wet ends of the string across the faces of the spectators. Those assistants did double-duty, as they established a physical contact thru the medium of the wet strings with SEVERAL HUNDRED SPECTATORS. At the same time, they appeared as disembodied human faces floating in the air, while high above appeared the scare faces. With the free hand, they threw RICE high in the air. Having achieved the proper state of expectancy in the minds of the audience, the wet rope contact was MOST effective. The rice falling upon the spectators was another excellent contact, that enabled a few assistants to practically cover a large theatre audience. Two other assistants – wearing luminous make-up – used a “flip gun” and fired a fine stream of water in the audience. Both devices were filled with ICE COLD WATER! A portion of the rice was coated with luminous paint, and presented a most unusual and weird picture to the startled spectators. The preparation of the rice is tedious, though not expensive. This is done by spreading the rice thin on a piece of paper, and flipping with a brush, gobs of luminous paint on the

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STAGI N G A PR OF E SSI ON AL SPOOKSH OW rice – allowing it to dry, and then breaking the rice into individual kernels. This rice was used on the lower floor, and in the balcony, as well as some thrown from the stage. Mixed with the rice in low proportions was LUMINOUS CONFETTI. This was made by cutting strips of luminous paper into very small squares and mixing with the rice. As it would fall, it would revolve in the air, and present a twinkling effect. FIREBALLS were directed at the FACES of the spectators, both on the lower floor, and in the balcony. To sit in a darkened theatre, amid utter confusion, and see a brilliant light soaring toward your face would startle any spectator. These balls were made by crumpling up sheets of tissue paper, taking them and forming them into the form of a ball with thread and painting the ball with luminous paint. The balls were about two inches in diameter. These were activated by the flash bulbs, and thrown from the stage directly into the audience. Being of extremely light weight, it is doubtful if any harm could come from them. Twenty rubber balloons were inflated, and to these were attached luminous eyes. The eyes were made by cutting oval pieces of luminous paper, and blackout the “eye” with a piece of crayon. The ‘eye’ was attached to the balloons after inflation by means of a piece of scotch tape. Right here, the author would like to definitely dispel the THEORY that rubber balloons can be coated with luminous paint designs. This is utterly impossible, and such procedure has been only prescribed by arm-chair operators. Luminous paints will rot the rubber, causing the balloons to break before drying. The paint will crack and fall off. Due to the chemical characteristics of the paint, it is NOT adaptable to the rubber surface of the balloons. Four balloons were placed in a hat box. These boxes were distributed to stooges (some wearing luminous make-up) in the first row of the balcony – and a few balloons to the operator in the projection booth. During the blackout, the balloons were released from the balcony, and booth, and allowed to DESCEND on the spectators. As the balloons would fall, they would naturally turn, causing the eyes to appear and disappear. They present a most awesome sight, and when making physical contact, would frighten the wits out of the spectators, whether or not he witnessed the approach of the two eyes floating in mid-air. The spectators will strike out at them, to ward them off, and causing them to merrily bounce all around the audience, and contact many people. Some will break – and you will have the benefit of this superb sound effect! All during this activity and taking place simultaneously, ghosts, skeletons, and scare faces were operated high in the air from collapsible reaching rods. A luminous cross appeared in mid-air, and a giant grinning skull. By using two “ghost projectors,” various spooky images were projected on the walls and ceiling of the auditorium. (Accept the fact that in total darkness, the spectator loses prospective, distance and size. The imagination is a BIG factor, and lends extreme effectiveness. However, all luminous props should be life size or LARGER to be visible in large auditoriums.)

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STAGI N G A PR OF E SSI ON AL SPOOKSH OW Each assistant times his program by counting to a pre-determined figure, so as to be clear of the audience at the conclusion of the blackout. Or, this can be cued by a pistol shot from the stage, and a count of ten. All assistants in the audience were instructed to not only perform the specific duties assigned to them, but to add to the confusion whenever possible, by making weird noises and grabbing different spectators. Add together ALL of these manifestations, transpiring at ONE TIME, for a duration of two or three minutes – and you have pandemonium, and a swell “ghost show blackout.” To those who did not hear the “We, the People” Ghost show broadcast, it may be recited that the performance was sensational, the confusion and noise originating in the audience was deafening and the stunt closed with a terrific ovation. Thousands of letters of comment were received by the sponsors. Any and all of these effects are excellent for the theatre spook party, and even smaller groups. In the theatre show, where various manifestations proceed the blackout, some stunts can be carried over and utilized during this scare portion. If a Headless Man, Gorilla, Mad Doctor, Frankenstein character, etc. are used in the case, it is well to start the blackout, just as one of these mad characters breaks loose – and with the lights still up, starts for the spectators – and then, LIGHTS OUT. Or, any of these characters may be used in the LOBBY to scare spectators as the show breaks. A good gag is to place fine black threads at the top of the exits, so the threads dangle down and brush across the spectator’s faces. This gives the feeling of cob-webs or insects, crawling over the face. Several years ago, the Olsen and Johnson “Hellzapoppin” show introduced a fine scare effect. With an off-stage narrator talking about the thousands of spiders and worms that would be dropped from the ceiling – firmly implanting this idea and expectancy in the minds of the spectators – the lights were cut, and handfuls of rice thrown down on THE SPECTATORS. The narration was GOOD, and the idea of crawling, wiggling worms and spiders was accepted by the audience. This is best illustrated by a group of people talking about insects or bugs and presently some will start to scratch – so vivid is the imagination – and the fear of such things.

Bob Nelson’s Delirium Tremens Effects This great stunt was conceived by the author and used after the “We the People Radio Show,” and was found to be most effective. It must really be seen to be appreciated. It is difficult to describe as spectators see and react to it differently. The mechanics will be described, and you can judge for yourself the merits of the stunt. Secure a long length of paper. Either cut a roll of adding machine tape in half (the width) or use ticker tape (about - 13 -

STAGI N G A PR OF E SSI ON AL SPOOKSH OW half an inch wide) and twenty feet long. Open out the paper, and about every inch or two, daub a spot of luminous paint. This can be done on one or both sides. Allow to thoroughly dry and re-roll. The prepared paper must be exposed to the light back stage, rolled and brought to the performer, who throws two or three of these rolls, a la serpentine, confetti style into the audience from the stage. The effect has been variously described as a luminous glowing snake, and worms, streaks of fire, luminous snow flakes and DELIRIUM TREMENS, from which it draws its name. Used properly and with other supporting manifestations, it is worth all the time, and little cost it required to prepare. The above idea, also the fire balls and luminous rice and confetti were conceived partially due to an unusual experience that occurred during one of the author’s midnight spiritualistic seances. The usual manifestations were in full action, as previously described, when all of a sudden I was amazed at what I saw! Standing on the stage manipulating various sundry ghosts, etc., I COULDN’T BELIEVE MY EYES – for all over the lower floor of the theatre appeared dozens of flashing objects, sailing thru the air in all directions. As the walls of the theatre were painted with a gloss finish the reflections of these objects caused a dual appearance. Later, I learned that one of my assistants, using a long telescopic reaching rod, had not elevated the cardboard skeleton high enough in the air – and that some one had grabbed it and torn off one leg. The startled spectator screamed and tossed it into the air. It was subsequently torn into many pieces, and was tossed all about the audience by the startled spectators. Since that time, pieces of luminous paper have been tossed into the audience. A bright, glowing object, landing into the lap of any frightened spectator is enough to cause great excitement, and cause them to immediately grab and throw it elsewhere – and without taking time to examine the nature of the object. The fact that some spectators may later find the balloon with the luminous eyes, or the serpentine confetti, rice., etc., is of little consequence. The spectators are interested only in the action of the moment and the sensation they experience. Remember, the blackout is the climax of the show. It must be loaded with plenty of chills and thrills. To do this, devote a little extra time to the preparation of some of these fine and proven stunts. Returning to the first part of the theatre spook show, a good general description has been given. Considerable effective time can be consumed by doing a mindreading routine, such as crystal gazing, clairvoyance or billet reading. Any GOOD mental test, presented as a spiritualistic manifestation is most effective. Utilize the old spirit slate or the Dr. A slates for spirit messages. On slate writing, get a specific message from someone in the audience – by prior use of the Clip Boards. Table Lifting, Walking Away from your Shadow, Spirit Cabinets, Miniature Haunted Houses, Floating Objects, Spirit Escapes are very good examples of what to use. - 14 -

STAGI N G A PR OF E SSI ON AL SPOOKSH OW Invite audience participation whenever possible, as spectators add to the cast and fill up your stage. If presenting any spiritualistic effects in a serious vein, call upon any “spiritualistics” in the audience to assist. Don’t ridicule, but respect their belief, and ask that they lend their powers and assistance to the experiment. Partially credit them with the success of the feat. Threads can be utilized for many fine effects – rapping skulls, floating and tipping pans of water, floating objects, to cause the hair to raise on the heads of the spectators, and the stooges. Manifestations in “spirit cabinets” are very good. One operator creates a very fine effect by merely placing a glass lamp chimney on a table – and by “spirit force” caused it to move on the table surface and crash to the floor, breaking it into a million pieces. Nothing other than a horizontal thread manipulated by two assistants off stage was used – yet this clever presentation and suspense makes this simple stunt into a masterpiece – and consumed almost five minutes. If the operator is hopeful of a good seance, attended by friendly and willing spirits, then he should summon forth the spirits, and employ some test to determine if such assistance will be forthcoming. This can be nicely done by using a “spirit rapper” – the invisible spirits asserting their presence and desire of cooperation. The levitation of a heavy table – spectator seated on same is equivalent to a full stage production. A committee of serious-minded spectators are invited on stage. They are seated around a heavy table – after due inspection. The performer takes his place at a table, and a circle is formed. A burning candle is placed on the table, and lights are turned extremely low, or entirely extinguished. Presently, the table begins to move and as it rises in the air, the spectators are obliged to leave their chairs to remain with the table. Performer and all spectators merely have their finger tips on the top of the table! Then, the table thumps to the floor, and a spectator is invited to sit on the table, and hold it down. Again the table moves, and rises in the air, giving the spectator a free ride. Alla Rageh, in a spirit of devilishness, would invite some skeptical spectator to sit on the table – and the “spirit” would dump him on the floor, as it floated thru the air. Lights up – and again the table is submitted for examination. This great “spirit phenomena” is easily accomplished by the performer and one stooge from the audience. Both assistant and performer are wearing special belts made of heavy webbing, around the waist, and supporting straps over the shoulder, similar to suspenders. At the front of the belt, and hidden under the vest is a very large heavy leather piece, with a folding arm. After the performer and stooge are seated at the table – opposite each other, and all committee men are placed, performer and stooge release the folding arms, which catch under the edge of the table. As they start to rise, and lifting FROM THE HIPS, these two performers are capable of lifting huge weights. The table appears to rise, and in order to maintain finger tip contact with the table, all must rise. The illusion is perfect.

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STAGI N G A PR OF E SSI ON AL SPOOKSH OW Once the experiment is concluded, their hands drop to their lap, and retrieve the folding arm, and secrete it under the vests. There are so many GOOD weird spooky and psychic tricks that can be presented that it is hardly necessary to recount them here. Some successful performers use a few hypnotic stunts, which are quite acceptable and fall into the general category of excellent midnight show entertainment. At one time, the author used such a bit “Hypnotizing” an assistant and placing him in a cataleptic stage. This condition was referred to as a “death state” or a “state of suspended animation,” and the subject moved in a most unnatural manner. Calling the assistant a ZOMBIE, I would pierce the arms, cheeks and ears with a long steel hat pin, and lead this LIVING CORPSE (while under my spell) down thru the aisles of the audience where all could see close hand the true penetration of the steel pins.

BOOKING The midnight ghost show is perhaps the easiest type of show in theatre business to book. The usual procedure is to contract the show with a theatre on a percentage basis, the attraction half, the net box office receipts – and the theatre taking the other half, after the cost of advertising and the movie film rental are deducted. Horror films can be bought thru any film exchange on a rental basis. Send passes to the “Drama Critics” and advise them your private car (hearse) will call for him and his party at 11 P.M. Some shows pass out “Faint Checks” – a slip telling all about the show, and with backs for the spectators to fill in their name and address, in case they faint during the show. Place your realistic skeleton in the front seat of your car – next to the driver’s seat and park your car. Put a sign on the skeleton “Getting a little fresh air – I dare you to meet me at the Midnight Ghost Show, etc.” One very prominent and successful ghost show operator is using the “Prediction Chest” as a fine publicity getter for his show, the chest being opened that night on the stage. This addition to the program, and as a publicity getter has paid for itself a hundred-fold. Any type of stunt will call attention to the time and place of your show is good exploitation. And you must do a good selling job before show time – if you want to do business. Ghost shows are novelty entertainments and cannot be repeated too frequently. The average town or city can handle this type of attraction and do business, if the shows are good, about every nine months. To repeat more often is a mistake, and will be observed by the box office figures. Towns and cities where a show of this type has not played for several years, are ripe and react well.

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SPOOK PARTY IN YOUR HOME All of the effects described for the theatre and radio show may be successfully employed, in varying degrees, for the spook party in your home. The fundamental principles of working your audience into a receptive mood – are the same – to create a semblance of fear, and in total darkness, give them the scare of their life. Causing your spectator’s to enter a partially darkened room – the Inner Sanctum of the Ghosts and Vampires – and allowing the cob webs (effect) to contact their face is a good physical beginning. If the host would let them in on a secret – and tell that an “uncle was murdered in this very room, 26 years ago, and that almost nightly his spirit returns in some form or another,” etc., will set the stage for a lot of fun. The telling of ghost stories in a darkened room gives many people the creeps. Extinguish all lights, except a burning candle in the center of the room. It casts a weird glow over the faces of the spectators, and if the candle is on the floor, or a low table, will cast unusual highlights on the faces of all. Seeking the unusual, many people will entertain at Halloween with a spook party. Sudden external noises at the window, and raps from different parts of the room will cause much apprehension. You can paint various gruesome faces on the window glass with transparent paint Ultra Violet paint – which will not be observed. By placing a source of UV Light outside the window and turning it on the prepared glass, this face will glow in brilliance. Or, the faces can be made lifelike by using colored paints, which are barely discernible on glass. Spirit raps can be caused in various parts of the room by the use of several threads, which when manipulated, will cause weights to rise and fall to the floor with a resounding rap. If you really want to scare the wits out of your guests, invite them to a mock funeral and spook party. Arrange one room as the funeral room, with flowers and open casket. Make up a friend, and place him in the casket. When you are ready to “let go” the corpse jumps from the casket with a yell (this alone is enough to cause some people to faint) grabs a partner and to the strains of some fast music, goes into a jitterbug dance! All the usual manifestations described in the first part of the spook show can be a part of the home party. They are adaptable, only on a smaller scale. And don’t forget the sound effects! Great caution should be used to secure total darkness for such parties and it is usually necessary to black out the windows.

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STAGI N G A PR OF E SSI ON AL SPOOKSH OW What has just been described here is offered in the spirit of fun, of course. The most serious aspects of the “legitimate” seance will next be described, but realize many of the effects revealed here, too may be utilized in your home seance, or by slightly revamping the presentation, use it to entertain your guests. Work out your own program to suit your requirements.

SPIRIT MANIFESTATIONS IN THE SEANCE ROOM Needless to say, the most impressive of the so-called “Spirit Manifestations” are the ones that can be seen, heard or felt – as the action occurs. Oft-times, there are too difficult to produce, but they are distin-ctly the most effective. Spirit Seances may be produced with only two definite viewpoints in mind – doing the seance for amusements of the audience, as a “gag or lark” or presenting the seance to a serious-minded audience who want to believe they are really witnessing spirit manifestations. However, an in-between road is the better route – wherein you seriously advise your audience – “This evening, we have gathered here to conduct a series of experiments in spiritualistic phenomena, hoping that such manifestations will occur as to give us proof of the survival of life after death. This is a tremendous problem and a subject upon which there is much debate.” “My purpose is not to convince you pro or con regarding spiritualism – but to offer you serious food for thought. This evening I shall endeavor to produce legitimate spiritualistic phenomena in a number of experiments, whereas, on the other hand, I warn you, I am deliberately going to include a few fraudulent tricks, as employed by bogus mediums to defraud the public, and to challenge your observation and keenness to see if you can determine the fraudulent from the real.” “Many bogus mediums are exceedingly clever with their tricks, and the average spectator is at a loss to detect them. However, sincerity must be the keynote of our seance this evening, whatever your belief may be.” The references to the fake tricks and the bogus medium leaves the medium a loop hole and a perfect “out” if caught in any of the experiments – as, of course, the effects in which you may be caught are the fraudulent ones you warned would occur. Your audience is impressed with your sincerity, and are more receptive to the seance. “Before the lights are lowered and we seek communion with our dear, departed ones, let us all fervently pray for the success of the experiment. Let us seek our goal and with open hearts and minds. With the whole-hearted cooperation of everyone present, success is bound to be our reward.” “Death is negative – darkness is negative – the two symbols are en rapport. Let us have darkness – let us summon the expressions of so-called death – for there is no death – but life after death.” The lights are extinguished, leaving the seance room in total darkness. The medium should be in the center of the room, and the spectators surrounding the medium in a circle – back a few feet from the - 18 -

STAGI N G A PR OF E SSI ON AL SPOOKSH OW medium. Or, the medium may be in one corner of the room, with the spectators forming an audience cata-cornered across the room, and filling the balance of it. The latter is perhaps the best arrangement. For a real impressive seance – a professional type – music must be played on a tape recorder – some religious hymn to give atmosphere and psychological effect. It may be said here that very little actually happens in most spirit seances of any consequence, because they lack showmanship and sensationalism. Of course, the truly sensational seance takes considerable preparation, equipment and help to present and such a procedure will be briefly outlined here then pass on to more simple manifestations that are more easily presented. The ideal type of seance – often conducted – consists of a short lecture along the lines just given you – a sort of psychological preparation for the spectators. Next, the medium is securely tied and placed in a chair in the center of the room. (The tie used in the Instantaneous Spirit Tie is one of the best, and very little know.) It affords instant release and return, and is most convincing and above suspicion. Spectators are permitted to write one question on a slip of paper unprepared, and place it in an unprepared envelope and seal it. These are collected on a saucer and placed on the medium’s knees. A small trumpet is likewise placed there. Out goes the lights – the medium passes into a trance (?) and with a muffled voice, begins to whisper the names of the spectator’s present and gives them messages in answer to their written questions – all the time in total darkness. However, just prior to the first message, raps are distinctly heard in the room – near the medium and elsewhere. These are accomplished in the most simple manner, and it is surprising how easy it is to get away with. The medium merely clicks the sole of her shoe against the chair leg to produce the raps – and a secret confederate in the circle does likewise. In a room of total darkness, one’s senses begin to play pranks on them. One loses the value of distance, perspective, depth and timing. The spectators will swear the raps occur in different parts of the room – and in the case of the confederate, this actually happens. Then their imagination takes over, and they think they heard them in several places. Also they begin to imagine they see things – especially if you patter these suggestions to them. Up to now, you have merely sold them a little bill of goods, and done nothing more than clicked the sole of your shoe against a chair, while you sit there bound with rope! The above is the simplified method of creating satisfactory raps. There are two or three mechanical spirit rappers on the market that can produce very satisfactory and loud raps. These, of course, can be obtained from the publishers of this book at reasonable fees. [No longer available from publisher.] The message reading in total darkness of the sealed billets is most effective. Presently, exhausted the medium calls for lights, and is discovered slumped over in the chair, still tied, trumpet and saucer of billets still in her lap! Yes, it is most convincing.

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STAGI N G A PR OF E SSI ON AL SPOOKSH OW This type of demonstration in a room is convincing and awe-inspiring if properly presented, because the spectators see nothing – feel nothing – and heard nothing unusual or “supernatural” except the occasional raps – designating the spirit guides are present! It is intangible – a bit fearsome for that reason. Ongoing suspense is created by the medium’s seeming inability to come out of the trance. With the help of an assistant, you slowly begin to “recover,” but only slightly. This routine covers the first phase of a typical demonstration. However, not all of the questions were answered. The assistant takes the trumpet, the saucer of questions into the other room – and returns with a pair of ordinary school slates, which are displayed, and washed with a damp cloth, or cleaned with dry cloth. All this time, the medium remains in a half stupor. The slates are placed in the medium’s lap, after having been fastened together with a rubber band. Small crumb of chalk is inserted between the slates. Out goes the lights again. In the quietness of the room, a scratching noise is heard – the chalk writing on the slates. About a minute of this, in which the medium is conversing half intelligently with the spirit guides, the scratching ceases – medium requests the lights, and there reposes on her lap, the slates, still held together with the band. Prior to this, spectators may initial or sign the frames of the slates – or write their names on them. Of course, the medium is also tied in the chair. Assistant hands the slates to some individual, who opens them to discover a message in chalk, covering one entire slate. This is a message to one of the clients in the circle – and from its character, it is apparent that such a message could not have been written in the darkness by a human, even if the medium has full access to both hands, etc. The written spirit message is accomplished by use of two ordinary school slates, and a special flap. This flap resembles in appearance the slate, that fits into the frame of one of the slates, covering a prepared chalk message on one slate. For seance work, a pair of small slates, about 5 x 7, including the frames, and with the slate surface smaller, of course. It is very easy then to remove the flap from between the two slates, and dispose of it in one of the inner pockets. As the frames have been identified with initials – and even the slates – the outside of the two slates, there can be no question of any possible switch or change of the slates. There are several type of mechanical slates that permit flap to be “dropped” from one slate and lock into the second slate, and the simpler method is regarded as the best. A good method is for the assistant to “steal” one of the questions during the collection, and use this one for the message on the spirit slates. Having copied the answer on the slates, the assistant folds up the question. On returning to the seance room, the assistant places the two slates – fastened together with a rubber band – on the medium’s lap – with folded question underneath the slate. Undercover of darkness, the medium releases the hand, takes the folded question and replaces it with the other questions. The slates are opened, and the flap slipped out and into the medium’s pocket. - 20 -

STAGI N G A PR OF E SSI ON AL SPOOKSH OW A marvelous addition can be added by allowing the spectator in the quietness of the darkened room to actually HEAR the spirits writing the message. This is accomplished by scratching, very slowly, but firmly against the side of the slate with the finger nails. You need only move the nails very slowly over a fraction of an inch on the slates to produce a realistic sound – like the actual writing of the chalk on the slate surface. This same method can be used in the light, the medium holding one end of the slates, the spectator the other. With nail scratching on the underneath side of the slate, the movement is so slight, that it cannot be detected. It is a good practice to give the slate bearing the message to the client, as a memento or souvenir of the seance. If the person is a believer, they will treasure it to their dying day. The rest of your audience will react to your generosity, and though you do not expect it, oft-times you will receive a “gift” in return. With the methods of spirit communication presented, you next turn your attention to the third phase – materialization of spirit images. An excellent method of materialization is the use of luminous treated silk gauze and a reaching rod. Prior to the seance, this material is spread out and exposed to brilliant light – carefully folded, and placed in a light proof black bag, work like a pocket on the inside of the coat. Releasing your hands, you can withdraw a portion of the cloth out of your coat, and the resultant light from the treated silk will partially light up your face. It appears as ectoplasm, emanating from your neck, and as your hand withdraws it from the coat, you can hook on with the reaching rod – withdrawing the cloth its full 24” length and reaching it high above your head. Gently shaking the rod, it will give it a shimmering effect, very weird and permitting the imagination to run riot, and many spectators will recognize it as some dear departed one. Faces painted on it, etc. are not necessary. Preparation of silk forms and luminous articles will be discussed later in the book. Message bearing is an old gag with the spirit medium – they merely call a common name – Helen, John, Henry, Mary, etc., asking any of the spectators if they recognize the name as a dear, departed one. Of course, being anxious to make contact, someone will recognize this name, and, of course, the deceased person (in their own mind). Then follows a flowery message of hope and encouragement, usually otherwise meaningless. Oft times, they will describe an elderly man, slightly stooped in the shoulders – white sparse hair – bearing a message for a son or daughter – “Is that person here?” Such indefinite descriptions will be accepted by many.

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STAGI N G A PR OF E SSI ON AL SPOOKSH OW [Warning: The information that immediately follows (looking through people’s coats, cars and other personal property) is being included to give readers an insight into the lengths that some mediums would go to obtain information about their sitters. These practices are unethical, illegal and are certainly NOT advised for entertainers – putting on a “pseudo seance” unless they want to end up in the slammer!] To add strength and sensationalism to the above suggested routine, it is well that your confederate ‘ransack’ the coats and clothing of the spectators, if conditions permit. Most seances are held in private homes and the wearing apparel is placed in one room – the seance held in another. This oft times permits your assistant to go thru the clothing, looking for names, marks of identification, letters, cards and a hundred and one clues. To carry the search for bits of information and clues, allow your assistant to check the automobiles of your sitters. License tags will reveal names – the city directory and phone books will supply addresses, occupations, children, and much information. You may find the owner’s name in the car on a driver’s license, and much informative data in the glove compartment in the car. After all, you need only a few bits of information to start calling startling names, give messages, etc. These sources of authoritative information should not be overlooked. Further, your confederate can engage many spectators in conversation, relating this wonderful experience with the spirits, and thus pump many a client with their own problems, family life, etc. A brief description of a routine and used most effectively for years. With the spectators seated in the circle, you pass them a number of “Impression Clip Boards.” Each is instructed to write his or her question on the bottom slip, sign the name and pass the pad to the next sitter. Each retaining his own questions, then pass envelopes to them, requesting that they seal their written questions in the envelopes. They are collected, and left in plain view on a table – never tampered with. When the seance begins, you place the sealed envelopes on top of the piano (it is above eye level), and blindfold yourself. Then pick up one of the envelopes, and hold it to the rear of your head, call the name – receive an acknowledgement and answer the question. This answered question is set aside – and proceed until all are finished. Removing the blindfold allow the sealed billets to remain on the piano, so that the writers can regain them. The procedure is very simple – obtain, of course, the questions and names from the impression boards, unbeknownst to the writers and copy this information on a sheet of paper, which is placed on top of your piano. Read down the side of your nose, from underneath the blindfold, picking up any of the envelopes. Endeavor to stop the sequence after the location of two or three envelopes, and these toss out into the audience immediately after answering. At the conclusion, brush the paper with the data on it from the top of the piano, accidently drop the blindfold – stoop to pick it up behind the piano and recover the “data sheet.” It is all too simple, but billet reading as described, fooled many a professional medium, to say nothing of the public, that will beat a well trod path to your door. - 22 -

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The following are notes made from many experiences and travels, and all of which have been tried and tested with great success. In a room of total darkness, we confuse the sense of light, and of balance, also let us say reasoning too – that is to a certain degree, for here the imagination begins to play tricks, and our reasoning is not so rational. By producing the evidence of the presence of the spirits by having them produce raps, knocks or sounds are found to be very effective. A very peculiar sound effect can be created and it has not been imitated. It is unique because it is different, weird and uncanny. It is produced by a whirling a taunt rubber band thru the air. See the sketch above. A small piece of wood – cut down in the center with a rubber band stretched around the ends – but not too tightly. To the end, attach a piece of fish line, and whirl this object in a circle in a darkened room. As the rubber passes thru the air, it will vibrate and make a sound not unlike that of buzzing bees. Variation of the action can be created by manipulating the whirling of the object. The sketch will give you the idea how to make this device, which is extremely simple. The piece of wood should be about 1/4” thick and a band about 1/8” width used. The device can be made this size or larger. The ends should be grooved, so the rubber band will not slip off. The other very effective sound device is the siren mouth whistle, or wind whistle. They can be purchased at music stores (it’s a drummers accessory). By very gently blowing into same, you can create a sound of wind blowing – which is an eerie effect in a darkened room – as you await a visit from the ghosts of yesterday. This wind effect sound device is especially good if used in conjunction with another test that attacks the sense of touch or feeling. It is possible to place a small piece of “dry ice” in a cardboard box – such as a cereal box. In one side of the box, put a circular hole about two inches in diameter. Close the lip on top of the box – the circular hole the only opening. Dry ice inside, which lowers the temperature of the box. Now by pointing the hole of the box someone – many feet away, and tapping on the side of the box directly across from the hole, that side of the box acts as a vibrating diaphragm, and expels a certain amount of contents of the box and travels many feet, across the room, caressing the cheeks and heads of the bewildered sitters. It is necessary that a confederate or stooge work a device of this kind. Repeated tappings on the box keeps up the flow of cold air circulating. You can demonstrate this to your own satisfaction by making the box and filling it with cigarette smoke, and thus sending the smoke rings across the room…or, remove the cellophane wrapper from a package of cigarettes, seal up opened cellophane wrapper – - 23 -

STAGI N G A PR OF E SSI ON AL SPOOKSH OW burn a hole in one side – blow the container full of smoke in the same manner as “cold rings of air just described.” Used with the wind effect and a little suggestive patter as to chills and damp presence of death – you will soon have your audience in a “cold sweat.” Most effective is for you and your assistant to have a plume concealed on your person. Attach this on the end of your reaching rod – best to let it hang down from the actual end of the rod by a short piece of thread – so as to not hit or injure anybody with the rod itself in the darkness. Patter about ghostly hands – the very presence of death – and about that time, drag the plume gently over the head or neck of some sweet young thing, and you will have a real show. Secure a piece of thin steel sheeting about 20” x 28” at your local hardware store. By holding at one side, and shaking gently or violently, you can immediately produce an excellent and loud sound effect of a wind, rain or thunderstorm. This inexpensive device offers great possibilities and should not be overlooked. Good reaching rods are an excellent investment for the seance worker However, it is possible to buy the toy collapsible pencils or a transistor radio antenna, opening from about 8” to 24”, on a telescopic arrangement. These make excellent rods, though a bit short. However, by taking advantage of the full rod, plus the length of your arm (or confederates) and that your audience looses their sense of distance in the darkness, you can get away with plenty with one of these novelty pencils. Another ingenious device – very low cost – is the flexible steel rule – this makes a fine reaching rod, providing the object attached to the end of it is not too heavy. The steel rule is wound around center core, and may be extended several feet with real light weight objects on same. These rules can be obtained at most hardware stores, and many dime stores carry them. A very startling manifestations can be created with a very small piece of “flash” paper, often used by magicians in their magic tricks. A piece about the size of a postage stamp is brought into contact with a lighted cigarette or cigar, it ignites and produces an instant and very brilliant light. It flares like a meteor in the sky, blinding the onlookers, and half scaring them out of their wits. This is known or used by only a very few mediums, who interpret it as a manifestation of the DEVIL – fire and brimstone – a warning, etc., as it produces a faint chemical odor, which may be well passed off as brimstone. This should not be used over once or twice during a seance, then the stooge or medium should be so situated as not to expose their movements, as the room will be brilliantly and suddenly illuminated for a split second. Another good visual stunt is performed by using two flints – such as are used in cigarette lighters. By striking them together, a flash of light will result, like a small-scale indoor lightning. This must be shielded from the spectators, allowing them to witness only the flash, or the reflection of the flash. If you wish, dry out a cigarette lighter of all fluid, and use only the flint lighting mechanism for the manifestations. In addition to these many stunts, a great variety of these effects can be created with luminous paints, and these will be described in the next section of this guide. - 24 -

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ILLUSIONS WITH LUMINOUS PROPERTIES Ghostly objects, such as small skulls, skeletons, crosses, stars, symbols, etc., can be made by applying luminous paint to cardboard and cloth surfaces. The paint should be well stirred, and applied with a soft hair brush to the surfaces. If applied to cloth, it can be thinned with turpentine, and soft silky surfaces may be then coated. Luminous coated, heavy paper, four inches wide and in rolls of sixty feet, is available in full length rolls. This is the cheapest way to buy luminous paper, which can be used for “markers” on the stage, theatre or seance room. Literally hundreds of ghostly objects can be cut from this brilliant glowing paper. Crosses, skulls, faces, stars, hands, bats, flowers, etc., only to mention a few, can be cut from this paper. Using a heavy marking pencil or crayon, you can ‘blackout’, whatever sections you do not want to glow in the darkness. These miniature glowing objects are most weird and awesome in a darkened seance room, suspended from a reaching rod. Exit signs for theatre auditoriums (during the blackout) are accomplished easily with the heavy luminous paper, cutting out the letters and mounting on heavy board. Such signs, with a little care, will last several seasons. Once a very painstaking person fashioned an entire skeleton from the luminous paper, giving it a full formed body. Such objects do not have to be so finely made for exhibition in darkness, as crude workmanship, etc. is not visible. These objects can be extended from the medium with a reaching rod and are very effective. The medium can cause them to materialize and de-materialize (fade in and out) by holding the hand around them, and gradually opening the hand, giving the appearance of the article growing larger in the darkness. Gradually, the hand closes about them to make them diminish in size and disappear. If you coat a cardboard star with luminous paint on one side and paint the back side of the star black, and swing it thru the air with a string attached to the reaching rod, it will appear and disappear as it turns in the air, giving a “twinkling” effect. These objects need not be large – as the audience loses track of size and value in the darkness. As they are small, they appear of natural size, only appearing in the distance. Luminous treated cloth can be concealed in the clothing pulled out and draped or waved about on the end of a rod, to very good effect. All luminous coated objects must first be subjected to brilliant light, absorbing the light rays, which they later project. They will react and project the light in the same proportions they are allowed to absorb it. - 25 -

STAGI N G A PR OF E SSI ON AL SPOOKSH OW Here is a fine trick employed by many mediums. Suppose you are securely tied in a chair. Now, in total darkness, you cause a manifestation to appear – a cross, ball of fire, figure. This is accomplished by painting the design on the instep of the shoe – so that when the medium slumps down in the chair, lifts the foot, the sole of the shoe with the design painted thereon will be facing the audience, and discernible in the darkness. Or, you can make the design on cardboard and attach it to the instep of the shoe. Fasten it with scotch tape. In fact, you can paint a design that will cover the entire sole of the foot if you will cover it with scotch tape. Of course, this is good for only a single performance. Secure false faces – gauze ones – from your costume supplier and paint them with luminous paint. A wide array of faces may be used, if you have an assistant who can get them for you. Or, you can paint spirit faces with luminous paint on a white stocking, pulled down over your face. Luminous paint is obtainable in several mild colors, red, yellow, green and purple. An artistic person, using various colors can make very real looking “human faces” from false faces. This is a practice of many fraudulent mediums, and so real are the faces, that the spectators think they actually recognize departed friends and loved ones. The white stockings must be carried in a black light-proof bag, and you pull the bag and stocking face over your head as one – slowly remove the bag and the spirit face thus appears. To cause it to vanish, pull down the bag slowly over your face again, black out part of your face with your free hand. Then remove the stocking face with the bag, and conceal the bag in your clothing. Paint the luminous face on the stocking – mark in the eyes – nose and mouth with a heavy black pencil, or paint these in with opaque paint, thus shutting out the luminous paint in these sections. One ingenious medium had a ghost figure painted on a window screen – a second screen, and her assistant gently pulled down the screen and the luminous character painted on it – with a thread from the far corner of the room. The ghost figure thus appeared, and then seemed to shrink in size. Later when the lights were turned on, the blind on that window was nonchalantly rolled up, as were the others. Lengths of georgette silk can be treated with a very thin solution of Ghost-Glo paint (diluted with turpentine and dipped). This is placed in a small black bag, and the top of the silk is withdrawn by use of a reaching rod. Some mediums use a wire “form” – made of a coat hanger to give the ghost a better shape, but this is cumbersome and hard to conceal. Netting can be treated with luminous paint – and by holding a black sheet in front of the medium until the netting is placed over the medium, a very weird effect is achieved. There is just sufficient light to show the character, but vagueness withholds the identity of the person. Luminous powder is sometimes dusted in the hair of the medium, which produces a “halo” effect in

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STAGI N G A PR OF E SSI ON AL SPOOKSH OW the darkness of the seance room. As luminous powder is white in appearance, the wearer must be possessed with grey or white hair. However, the illusion is very startling. Here is a clever trick – on your shirt front, paint a pair of very piercing eyes – or other characters. Allow this to absorb plenty of light before the seance. When you are ready unbutton your vast, and there appears the piercing eyes. They should be painted much larger across the shirt. By manipulating one hand over the eyes, you can get the sensation of them closing. Black out with both hands, or just slowly close the vest over them, and button the vest. Clutching hands, skulls, etc., can be painted on the shirt front and produces in this way. In trumpet seances, luminous bands are placed on trumpets, so the spectators can follow their course in the darkness. If medium is securely tied to the chair, the trumpet can be floated on a heavy reaching rod, or given to an assistant in the crowd, who carries it around and talks thru it. A real fooler is to place the luminous band on the trumpet, marking its location on the medium’s lap; medium now secretly removes the glowing band, and floats only the band in the air with a small reaching rod, all the time actually talking thru the trumpet. Bring band back to the trumpet, and put on the trumpet and bring it back in your lap. A clever pocket trick with a dice can be easily made. Secure a 3/4” transparent die with white spots. Into each spot, drop just enough luminous paint to coat the white spot. Allow each spot to carefully dry. Make a black bag about 4” x 6”. Spectators thinks of a number from one to six (as presented by the spots on the die). He removes the die from the bag, places it on a table, with the chosen number uppermost for all to see. Spectator replaces die in bag, shakes it up. Performer now reaches in bag, removes the die and places it on the table with correct number uppermost. Die is placed on the table in such a manner that a goodly light strikes on the top side of the die. This causes the spots to be luminous to the confines of the black bag, but appears quite normal. To heighten the effect, use two such prepared dice. Secure an ash tray, dish or piece of cardboard. If cardboard is used, draw a magic circle on it. Paint with luminous paint. Allow spectators to place several articles on the table beside the tray or dish, such as a key, coin, pin, ring, matches, knife, etc. While the performer’s back is turned, any spectator removes and places any object on the tray. After a few moment’s article is removed and replaced on the table. Performer now approaches the table, and names the selected article. To perform, the tray or dish has not been exposed to strong light, the article is placed on it, and the tray set so light shines on it. While you patter for about a minute, telling the spectators to concentrate on the article, this allows the light to be absorbed into the tray while it strikes it, but whatever article is laying on the tray keeps the light from that portion, creating a shadow or silhouette. Take the tray after the article has been removed, and slightly shake the tray, as you pick it up, and you can easily discern the article. An improvement on this method is to secure a piece of luminous cardboard, and have it cut into the

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STAGI N G A PR OF E SSI ON AL SPOOKSH OW size of an identification card. Have your printer set up type and print this card to exactly resemble an ordinary identification card. To remove the card from your wallet – where it has not been exposed to the light – an article is placed on it – under light – allowed to remain there for a few minutes. Article is removed. Performer picks up the identification card, and returns it to his wallet or purse, which gives easy and ample opportunity to shade the card, and to ascertain the selected article. Old scraps of curtains or lace can be treated with luminous paint, and pulled from the collars or pockets, thus appearing like ectoplasm. Slowly crumple up the lace in the hands to de-materialize and vanish. Many startling objects and effects can be achieved by using the lace.

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Bonus Material

A Spook Show In Your Parlor

or TEN SUGGESTED BLACKOUT STUNTS by William W. Larsen, et al. Although the material herein presented is intended, primarily, for home parlor use, many of the effects can, with but little thought, be adapted to the club or small platform. Also, albeit my name appears as author of the instant manuscript, it is not to be implied that I am the inventor of the various “thrillers” hereinafter described. In addition to having drawn on a long memory, I am indebted to George and Mary Lou McAthy, Fred Shields, Jim and Jane Conley, George Postle, Bill Frambes and the late Edw. Saint for many of the thoughts and ideas expressed, and to Bascom Jones for his help in putting the material into practical shape. Most of the materials used are either home made (and very simply, too) or may be cheaply purchased from any conjuring depot. For example, you’ll have to buy a jar of luminous paint, a couple of small music boxes, a luminous button, a McCullough comedy bulb, a bean shooter, one of Lou Tannen’s Pop Up Ties…and a few other things, but hardly enough to bankrupt you. You’ll also need a dark room. And I do mean dark! Dusky is not good enough. The room must be sufficiently black so that you cannot see a foot in front of you. Drawn shades and the lack of a full moon will help. Do not choose a room wherein there is a window facing a lighted street lamp. If the parlor is too light, take your guests into the kitchen. Maybe it’s dark there. If not, try the dining room…or the basement. The guests are seated in a circle, on the floor. (So, if you took my last suggestion and are seancing in the basement, better spread a rug on the floor unless you want to pay dry cleaning bills.) Near you, on the floor, and slightly behind you at the right, is a table lamp. Try to get one with three bulbs, if you can, so that you can extinguish one bulb at a time when ready for the “blackouts.” This is better than “cutting” all light at once. The necessary apparatus is bestowed about you as later described in these pages. Some of the tests require that you, the medium, free the use of one hand although the guests believe that you have been held at all times. This is accomplished as follows. Have each guest place his hands on the floor in front of him. The fingers should be outstretched. The thumbs should be about eighteen inches apart. The fourth, little finger of each hand should touch the fourth finger of the person next to him. Thus “the psychic circle is completed. Each one of you is contacting the other. I am contacting the persons at my right and left. If any one of us tries to remove a hand, or hands, for any purpose, those next to him will know.” Each time, when you are ready to “blackout” request the guest at your right to do so. The lamp is so placed that he will naturally use his left hand. Lights out, request him to replace his hand on the floor

STAGI N G A PR OF E SSI ON AL SPOOKSH OW in front of him. Now, however, instead of placing your right fourth finger on his left fourth finger, you span your left hand so that the left little finger is touching the right little finger of the person at your left and your left thumb is touching the left fourth finger of the guest at your right. This means that the latter’s left hand will be more than eighteen inches from his right hand, but in the dark this is easy to accomplish and is wholly deceptive even to the person at your right. At the finish of a test, the action is repeated in reverse. So much for the preliminaries. The first test is called:

CEMETERY SERENADE For this you’ll need a glass, or pottery, mixing bowl and two small music boxes. The latter are obtainable at novelty stores for about $3.75 each. In size, they’re about half as big as a, baseball. One of these is wound, set and secretly placed in your right coat pocket. Introduce the remaining music box. Openly wind it, set the brake and place it under the inverted bowl. All the guests place their fingers on the upturned bottom of the bowl. The music starts and stops on command. Of course, its the music box in your pocket that’s really playing, directed by your free right hand. The muffled notes, emanating from the pocket make it sound for all the world as though the music was coming from under the bowl. The next “blackout” is entitled:

THE WAIL OF THE WEREWOLF Have about an inch square of dry ice in your pocket. This should be heavily wrapped in newspaper to prevent burns. Also, in your trouser pocket is a half dollar. When the lights are out use your free right hand to unwrap the dry ice and obtain the half dollar, still warm from body heat. Pick up the dry ice and hold the half dollar firmly against it and you will find that it will omit the most unearthly, blood curdling, chilling screams ever heard by the ears of man. A word of caution about the dry ice. In handling it do not hold it too tightly in the fingers lest you get frostbitten. Rather, it is better to place the paper in which the ice was wrapped on the floor aid press the half dollar against it. At the finish re-wrap the ice, pocket both it and the coin and prepare to perform…

DEEP IN A TOMB For this you’ll need a length of thin dowel about eighteen inches long, a four foot length of string and a door key of the Yale type. Tie one end of the string onto one end of the dowel. Onto the other end of the string tie the key. Place the whole thing up the left pants leg, one end of the dowel tucked into the top of your shoe.

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STAGI N G A PR OF E SSI ON AL SPOOKSH OW Announce that in a “tomb strange noises would be heard…strange vibrations felt.” Lights out. Free hand obtains dowel with string and key attached. Hold the string about six inches from the key and start swinging it about in a circle. As the arc of the circle gets wider raise it over your head higher and higher until, finally, you are holding the free and of the dowel in your right hand and the string with key attached in making a circle eight feet in diameter over the heads of the spectators. The noise, in the dark, is strangely weird and the air vibrations caused by the rapidly moving string is quite unearthly. At the finish tuck dowel and string back into the trouser leg and you are ready for…

DANSE MACABRE Well, here’s where you’ll first need some luminous paint. For it will be necessary to treat a white pocket handkerchief with it. You’ll also need a three foot length of black thread. The latter is either pinned, or sewn to the inside seams of the trousers at the knees. Thus you have a length of thread running from knee to knee just as you used to fix up for the Walking Cane trick, remember? In full light spread the knees well apart, drawing the thread taut, and knot the luminous handkerchief around it in the manner of the usual “dancing handkerchief.” Now bring the knees together, allowing some slack, or “play” in the thread, and toss the handkerchief on the floor in front of you. The lights are turned out. By spreading your knees, and slightly rising, the handkerchief is brought to an erect position. Move the knees back and forth and it will seem to dance in the darkness. At the finish, when the lights are on, reach for the handkerchief, break the thread and you are “clean.” We then proceed to…

VOODOO AND HOODOO An effect which is worked in half light. (It may also be worked in full light, but a certain dimness adds to the eerie effect.) You will need a small, open top box (I use a shirt stud box) half filled with Lycopodium powder. You can’t get this at every drug store but it is fairly certain that almost any druggist will be able to obtain it for you. You will also need a soup spoon, slightly more than level full of corn meal. This spoon, holding the corn meal, rests in the box atop the Lycopodium powder. In addition you must have a candle in a stick and a few kitchen type matches. Announce that you propose to ascertain if any person present is “possessed by the Devil.” But, first, prove your own innocence as follows: dip out the corn meal and pour it into your left palm. Light a match and smother it in the corn meal. Pour the meal into the candle flame. Nothing happens. But, now to test a spectator. Dip the spoon in the box and bring forth a spoon full of lycopodium powder [a.k.a. Devil’s Breath to magicians]. Pour it in your left hand, light a match and stick the match into the lycopodium where it is extinguished. The left hand transfers the same powder into the spectator’s hand and he is asked to let it pour into the candle flame. He does. There’s a blinding flash…all without danger but proving (?) beyond per adventure of doubt, the existence within him of the devil himself.

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STAGI N G A PR OF E SSI ON AL SPOOKSH OW [Note: Fire and other pyrotechnic effects are ALWAYS dangerous. Perform them at your own risk! In addition, you must also be mindful of how an open flame will interact with other materials, people’s clothing and props in your show! Local fire ordinances may also expressly forbid their use.] The corn meal and the lycopodium appear the same in color and texture. However, the meal won’t explode or burn under any circumstances. The lycopodium will extinguish flames which are applied to it. When it is held together in substance but will burn with an explosive flash when air gets to it as it is dropped into an open flame. This is an exciting test and, leads up to…

IT’S ONLY HUMAN This is a simple, but well worthwhile blackout. Get a ten inch square of black paper, the heavy “art” type. Or one side paint in a death’s head with luminous paint. You’ll also need a palm leaf fan, painted black on both sides. Both are concealed under the coat, left side. Lights out. Get the picture with the free right hand and allow death’s head to be revealed. Hold it between the teeth as you move your head to and fro, giving animation to the picture. Secure the fan and fan the air firmly. Thus “spirit presence” is not only seen, but felt “in the cold, gusty breezes from the grave. Here, if you prefer, is a good place to substitute the thoroughly practical artifice of painting a skull on a toy balloon and using it instead of the aforesaid picture. As the balloon is secretly inflated it really appears that the skull is coming from a place far distant, getting larger and larger as it approaches the circle. This is a very old mediumistic device, seldom availed of, in recent times. And, now, sheer, unadulterated terror…

THE RAT RACE A wire cage containing a number of live rats is shown. This time the spectators do not touch fingers, but as the lights dim the medium is seen with the cage in hand, endeavoring to open the door. In darkness he cries: “They’re loose.” One spectator screams “I’ve been bitten.” Several feel the rats crawling over them. Pandemonium reigns supreme. What the item lacks in mystery, it more than makes up in “fright.” No person wants to be in a room with live rats. So, your requirements are few and simple. First, a wire cage with two or three rats…or, if you prefer, some thin, black Guinea pigs. In the semi-darkness the guests won’t be able to tell the difference. In addition you’ll need a few “fox tails”sold in most automotive supply stores at twenty five cents each and used by youngsters to tie onto the radiator caps of their “hot rod jobs.” In the darkness those things feel like rats but, to make the illusion the more convincing, apply a dab of glue here and there and lot it dry. In the dark this dried, glued fur will feel like claws.

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STAGI N G A PR OF E SSI ON AL SPOOKSH OW The only other bit of preparation is to have a guest prepared to shriek, “I’ve been bitten,” a moment after the light go out. Action: lights out. Throw out the fox tails. Stooge yells. That’s all, brother. It’s now only up to you to restore order so that you can proceed with…

THE SPIRIT BEAM Obtainable in electrical appliance stores, and in some hardware shops, too, are luminous buttons, about the size of a dime. They are variously used for marking light switches, light cords, etcetera, so that the same maybe seen in the dark. Obtain such a button, expose it well to bright light, then pop it, secretly, into the mouth and under the tongue, now, while your arms and legs are firmly held, open your mouth wide, get the button onto your tongue and it appears that a spirit light has come into being from nowhere. By a motion of the tongue, and head., the light seems to perform various unaccounted for convolutions. [Definitely NOT recommended. There are many ways to utilize this idea without putting a chemically-treated button or dot in your mouth!] You will find that the luminous button in no way interferes with your speech, that it is easily obtained and even more readily disposed of, thus permitting you to follow with…

TAPS What a marvelous thing is a bean shooter applied to the home seance. And, of a certainty, you’ll also need a handful of beans. Anyway, thus armed, and with the right hand free, you can obtain the beanshooter from the pocket with a fist full of beans. Then, by shooting beans at the walls, window shades and ceiling you can get a variety of “taps” unequalled in the field of spiritland. The guests may even request a given number of taps…say, four. Shoot four beans, hard, against the wall and there you have it. Again, you may prove that the spirits can add any two digits. Let us suppose seven and two are chosen. Nine beans shot against the wall give the correct total. [Always point bean shooter away from your guests, since beans shoot out with considerable force and could easily blind someone!!!]

THE LIGHT OF LUCIFER A 60 watt light bulb is passed for rigid examination and placed on the floor, slightly in front of the medium. Lights out, the bulb goes on and off, as commanded by the guests. At the conclusion, the bulb may again be examined.

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STAGI N G A PR OF E SSI ON AL SPOOKSH OW Here’s a prop you’ll have to buy from a magic dealer. Its called McCullough’s Comedy Light Bulb. There are four ways of making the bulb light, one of them a semi-permanent method which is affixed to the screw part of the bulb at all times. At the beginning this bulb is concealed in your pocket. You will also require a duplicate, unprepared 60 watt bulb. It is the latter which is examined at the beginning and which is placed on the floor. There it remains, never again touched by the performer. Instead, when the lights are out he obtains the tricked bulb and, by pressing and relieving pressure on the semi-permanent lighting feature causes the bulb to light and extinguish at will. However, were the bulb held in the finger tips it would cast enough light to show up the performer’s hand. So, to overcome this he draws his hand well inside the right coat sleeve (and you should wear a dark suit in doing all these tests) and works the bulb through the cloth of the sleeve. At the finish, merely pocket the bulb. The lights go on and there, on the floor, is the previously examined, non-prepared, bulb…just where it has been all the time. And now for a “holding test,” wherein ectoplasm appears…

THE POP UP GHOST I am indebted to Mr. George McAthy for this one. You’ll need one of Tannen’s “Pop Up Ties” which can be affixed to your own tie and some luminous paint. On the under side of your own tie paint a hazy, ghost-like figure with the luminous paint. Don’t make the figure too detailed. Rather it should have a hazy, ectoplasmic appearance. Now get your Pop Up Tie apparatus in place and you are all set for a real mystery. Let the spectators hold your ankles, arms and wrists. None the less, a small ghost-like mass appears. How? Simply by operating the clever “Pop Up” mechanism which causes your tie to raise up and show the under side. Just breathing does the trick, no matter how tightly you may be held. All of which brings us to a spectacular finale entitled…

THE PHANTOM BRIDE Probably not many will use “THE PHANTOM BRIDE” effect because it will necessitate the services of a young lady confederate. In her rather large handbag she has been secreting, all evening, a white silk shroud and “beanie”. The latter, in event some of you gentlemen don’t know, is a little skull cap which she can fit tightly over the head. During the evening she has, at all times, acted as one of the “sitters.” When the time arrives for this effect, and just as the lights go out, she feigns a very slight cough, withdraws her hands and says, faintly, “pardon me.” During this instant she rises and slips into the - 34 -

STAGI N G A PR OF E SSI ON AL SPOOKSH OW circle, turning to deliberately cause the spectator on her left to touch fingers with the spectator at her right. Immediately she opens her handbag, dons the shroud and skull cap and lays down, prone and full length on the floor in the middle of the circle. The performer, in the meantime, has been discoursing on the subject of “spirit brides” and “astral marriages.” “How much is fact…and how much is fiction?” Beside him he has a flashlight, the lens of which has been covered with green cellophane, snapped in place with a rubber band. While speaking, he frees his right hand, picks up the flashlight and holds it so that when he flicks on the light the latter will hit just about at the young lady’s waist. His discourse ended, he turns on the eerie green light and there lies the phantom bride, with her hands in repose as if in death, her eyelids closed in permanent sleep. Clad, as she is in white, and with the skull cap effectively changing the style of her hair, she will never be recognized as being one of the”guests!” The green light also has a tendency to wholly change her facial characteristics, especially if focused as hitherto stated. A moment later the light is extinguished. The medium again discusses what has apparently been seen, but warns his guests not to believe their eyes for “in spiritdom things are seldom as they seem.” During this time the young lady rises, doffs the beanie and shroud and returns them to her handbag. She does not rejoin the circle because the performer says “Break contact and stand. The seance is over.” She simply joins and mingles with the others as the lights go on. So we come to the end of…

A Spook Show In Your Parlor and I hope that you will have fun with the various blackouts that we have given you. If, over and above that, you can make yourselves a little money, so much the better.

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Bonus Material (Burling Hull)

Rope Ties for Mediumistic Stunts For rope ties, always use soft, woven rope. Never use coarse or rough finish or twisted rope, as the corrugations prevent the knots from running easily.

THE KELLAR TIE I here describe what is generally known and sold by the dealers as “The Kellar Tie,” though there seems to be some diversity of opinion as to the exact manner in which Kellar manipulates the rope in order to secure the slack which is necessary to the trick. Some claim that he gathers a loop of rope and retains it by pressure between his powerful hands, while others hold that he takes a turn of the rope around the knot. Kellar certainly never hurries himself in obtaining the slack, but many of those who attempt to perform it by either method do, and thus have difficulty with the trick, which convinces them that they have failed to fathom the real secret. EFFECT The centre of a piece of rope several feet in length is tied around the left wrist by spectators; then the hands are brought behind the back, the right wrist placed against the knot on the left wrist, and the rope tied around the right with several hard knots. When all are convinced the tying is secure, the performer suddenly releases his right hand and waves it about over his head, then replacing it behind his back he wheels around and shows that he is firmly tied again. Finally, the performer releases himself entirely from the rope, which he lays aside. OPERATION Use the kind of rope known as “Silver Sash Cord,” which has been “worked” a while until pliable. Have the centre of the rope tied around the left wrist, and secured with a double knot or “square knot.” At this time you stand facing your spectators with your committeemen also in front of you. Bring your hands behind you, placing your right wrist over the knot and turn around; but in the short interval while your hands are out of sight behind you, and just before you turn around, give the right end of the rope a turn around the knot and place the right wrist firmly on the knot and keep a heavy pressure there while being tied, so as not to lose the slack. It now will be found when ready, that by simply giving the wrists a part turn in reverse to, the turn of the rope, the right hand may be quickly extricated, and yet upon slipping it back and “winding up” on the slack, the hands will again appear to be firmly bound. Practice is necessary to execute the movement easily and naturally. Above all, do not hurry. A second method is to push a loop of the rope under that part encircling the wrist (see Figure 1) and retain it by pressure while being tied.

STAGI N G A PR OF E SSI ON AL SPOOKSH OW

THE IMPROVED KELLAR TIE This is a much simpler version of the tie, and one which I have found to be easily acquired by my pupils who could not master the foregoing tie. In this case two ropes of equal length are used and the two laid side by side are tied around the wrist as one rope, and in exactly the same manner as in the former tie. Then, as the hands are brought behind the back, simply twist the ropes “A” and “A” around “B” and “B” as in Figure 2; and place the right wrist on top and have it tied down. The double ropes are used to give thickness, so that the twists will take up sufficient slack. To release, turn your right in the opposite direction to the twists, and you can easily withdraw it. Reversing the process will cause all to appear secure again, as the twists appear to be part of the knot. This tie will enable anyone to duplicate the effect of the Kellar Tie with comparatively little effort.

THE MYSTERIOUS TIE The performer in this trick is securely tied in the position shown in Figure 3 with a piece of stout cord or rope. One end of the rope is tied around his right wrist, then brought under the seat of the chair, and after being drawn tight the other end is tied around the left wrist. A screen is placed before him, and when it is removed he is found seated in the same position but with his coat off ! The fact that it is apparently impossible for him to touch one hand with the other and also impossible for him to untie and re-tie the cord or rope so quickly makes the trick a very effective one. The secret in this case lies in the fact that in tying the second wrist the cord is drawn under the seat and is under a tension. In this condition it is impossible to tie a firm knot on the second wrist tied, as may be proven by experiment. The result is that the end is simply tied around the rope, forming a sort of running knot. It is simply necessary to spread the knees and lean forward in the chair until the hands can be brought together as in Figure 4. Pull on the knot on the left wrist and it will slide along the cord, enlarging the loop on the left wrist, which you now withdraw. Remove the coat and return the hand to the loop, draw it tight, as with a slip-noose, and straighten up in your chair.

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Suppliers/Resources Many of the spook show materials and other items mentioned in this publication are available or can easily be made up. To help you launch your own spook show, we’ve assembled a number of sources to get you started. Of course, items like Spirit Slates, Trick Light Bulbs, Needle Thru Arm, etc., are available from most full-service magic shops. While many retailers sell glow-in-the-dark paper and similar products, Theatrical Supply Houses are one of the best sources for Phosphorescent Paint, Glow Dots and Tape, etc. If you’re in the U.S., checkout Rose Brand; which has facilities on both the East and West Coast. And they even have a Canadian representative. Their prices are also extremely reasonable for products of this type, which can get quite pricey if you go through the “wrong” source. You can shop their website at: http://www.rosebrand.com/ Rose Brand East 4 Emerson Lane Secaucus, NJ 07094 Toll Free: 1-800-223-1624 Phone 1-201-809-1730 Fax: 1-201-809-1851 Rose Brand West 10616 Lanark Street Sun Valley, CA 91352 Toll Free: 1-800-360-5056 Phone 1-818-505-6290 Fax: 1-818-505-6293 In Canada, Rose Brand is represented by Technically Yours Inc. #103 – 7 Labatt Ave. Toronto, ON M5A 1Z1 Toll Free: 1-800-223-1624 x175 Phone 1-416-361-9390 Fax: 1-416-361-9745 Another supplier is Genesis Light Line LLC. They make a number of interesting products, including glow-in-the-dark fabric, thread, paper and sheeting. You can find them online at: http://www.glorope.com/catalog/ (Click on “Paper” or “Fabric.”)

STAGI N G A PR OF E SSI ON AL SPOOKSH OW Halloween and Costume Shops are yet another great source for spook show stuff, including skeletons, masks, make-up, and other props. For example, halloweencostumes4u.com offers a 5’ tall glow-inthe-dark laboratory skeleton for just $26 plus S&H (at time of publication). You can find it at: http://www.halloweencostumes4u.com/Merchant2/ merchant.mvc?store_code=hal&screen=PROD&product_code=rub50276 Many other items can easily be made up using supplies from these and similar sources. You can also find a number of “how-to” videos and other instructions online. Some you might want to check out include: “HOW TO MAKE A BEAN SHOOTER” at… http://www.metacafe.com/watch/743929/bean_shooter_easy_and_quick_to_make/ And for those who want to add some “Ghost Busters” type slime or ectoplasm to their presentations. Here are a couple of pages you’ll want to visit… ECTOPLASM DEMO… http://videos.streakr.com/ectoplasm.htm HOW TO MAKE SLIME… http://www.wikihow.com/Make-Slime SIREN WHISTLES eBay is a good source for cheap, toy siren whistles. For an expensive, professional model, go to a musical instrument store. CHEMICALS Finally, for scientific supplies, like Lycopodium Powder (Dragon’s Breath), try Science and Educational Supply Stores. You can also usually find this particular item on eBay (and fairly cheaply, too). You can also see it in action at… http://www.break.com/usercontent/2009/7/fine-dust-explosion-lycopodium-powder-927940.html Note: Fire and other pyrotechnic effects are ALWAYS dangerous. Perform them at your own risk! In addition, you must also be mindful of how an open flame will interact with other materials, people’s clothing and props in your show! Local fire ordinances may also expressly forbid their use.

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STAGI N G A PR OF E SSI ON AL SPOOKSH OW Finally, for the Spook Show on a Budget, consider… INEXPENSIVE ILLUSIONS to magically produce Vampires, Monsters, etc. See Victory Carton Illusions. These easily constructed cardboard illusions can be decorated with a spook show theme and/or luminous paint or materials.

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