The Slate Trick.—Everyone will naturally wish to know how this is done. "Dr." Slade, as Mr. Maskelyne correctly showed in open court, produced his "spirit writings" on the slate by means of a thimble-shaped instrument, to which were attached a piece of pencil and a length of elastic. The elastic was fastened to the brace, or elsewhere, and caused the disappearance of the thimble and pencil up the performer's sleeve when they were no longer required. Under the table was a little ledge which supported the slate whilst the hand, which was supposed to be performing that action, was busily engaged in scribbling upon the bottom of the slate, the thimble arrangement enabling one of the fingers to execute certain letters in a very poor and scarcely legible fashion. The bad writing was supposed to look more mysterious; but Slade would have written more legibly had circumstances permitted it. Anyone may try this method, but as a conjuring trick it is poor. The trick as now sold is a slate with an extra or false interior. The answer that is to be given is written upon the genuine slate, and the false side then put on. The slate is shown casually round without leaving the performer's hands, and a question is then written upon one side of the slate, which is waved about, and an opportunity seized for allowing the false side to drop out behind the table, or at any other convenient place, and the answer is then exhibited. If the inside of the false slate have blotting paper pasted upon it, and a blotting pad be upon the table used whilst the trick is being performed, it may be allowed to drop out upon the table without any attempt at concealment.
Fiery Hands, Writings, &c.—With the aid of phosphorus a very innocent dark séance can be given. The principal thing is to have the gas under control. This lowered, or turned completely out, for preference, the rest is easy enough. Bunches of cotton wool, or tow steeped in phosphorescent spirits, obtainable at any chemist's, placed upon the ends of fishing rods, create a good effect when protruded over the heads of the audience, and there waved about in circles. A washleather glove, stuffed with cotton wool, tied to the end of a rod, and wetted, is diverting, not to say alarming, when dabbed suddenly in the face of one of the audience. Imagination will fancy it the clammy hand of death. Care must be taken to withdraw it very suddenly. The best way is to have it swinging from the end of the rod, when it retires out of reach of a possible "grab" by virtue of its own impetus. The glove must not be phosphorescent. Japanese fishing rods, with the joints sliding one within the other, will be found very useful. A good effect is produced by the performer allowing himself to be tied to a chair, to which his arms are firmly bound, and the knots sealed by the audience. His assistants, having first removed their boots, can come on and manage everything, and, as a final effect, one of them has some words or characters written upon his arms and hands, or simply has them smeared with the phosphorescent preparation in use. He then kneels behind the performer's chair, which he must approach either backwards or with his coat on, and then extends his arms from the performer's shoulders. The form of the hands and arms will be seen, and it will appear as if the performer had loosened his arms and was exhibiting them in a fiery condition. So soon as the assistant is again out of sight the gas should be turned up, leaving the audience in a state of bewilderment. The most childishly simple things can be perpetrated in the dark, when the mind is by nature more easily imposed upon than it is at any other time. The simple expedient of someone coming on the stage in his stockings, after the room has been darkened, and, by turning back the sleeve, exhibit some words written upon the arm, is a very good illustration: it is impossible for an ordinary mind to divine how the sudden appearance of the writing in mid-air is managed. The arm must be extended horizontally before the sleeve is drawn back, and it must be kept so extended until the writing is again obscured. This is essential. The slightest expenditure of ingenuity and thought will produce other effects, which will vary according to circumstances and situations; whilst careful preparation will meet with its usual and deserved reward.
The Electric Touch.—The performer may, if he pleases, either commence or conclude those portions of his entertainments which have to do with mesmerism with a bogus explanation of the forces latent within him, the result of a natural gift. He must purposely make his elucidation a little far-fetched, in order to raise a smile, or even a remark, of incredulity. This gives him the desired opportunity for offering to practically prove the truth of what he states. Advancing to the company, he asks one of the spectators to extend his hands in front of him, palms downward. Standing immediately opposite this gentleman, the performer rubs the back of one of his own hands with the fingers of the other, and reverses the operation. This he continues for a quarter of a minute or so, and then suddenly extends his hands over the backs of those held out before him, an inch or two removed. The spectator feels no shock, so the performer continues his rubbing, and, at the third or fourth trial, the spectator jerks one of his hands away, a slight electric shock having been communicated to him. The experiment may be repeated as often as the performer pleases. A little pin is the cause of this marvellous manifestation. This the performer has about him (stuck under the vest is the best place), and often, in gesticulating, indirectly showing the hands to be empty, it is got down, with the head between the first joints of the first and second fingers, where it can be held firmly, of course pointing downwards. The nibbing of the fingers of each hand alternately upon the back of the other indirectly points to the absence of anything of the protruding nature of a pin being held in them, so the assumed excitation of electricity by friction is not the only reason for the action.
It adds to the effect when the production of the shock on the first experimenter comes only at the third or fourth attempt. With others, it may safely come at the first or second, if the performer be careful to explain that, the electric power once worked up, very little is necessary to keep it going. The rubbing is kept up throughout. The shock is, of course, produced by bringing the hand holding the pin nearer and nearer to the one beneath it, until the pin's point touches it. The touch must be as delicate as possible, as then an after feeling is experienced which necessitates rubbing. If the point enters the skin, the presence of the pin is at once detected. It being so absolutely necessary to the success of the trick that the touch should be very delicate, the use of fine entomological pins is recommended, but they must not be too long. The performer will do well to fail to produce shocks on some of those experimented upon at first, a return to them being necessary when the electric power has accumulated. Any particularly healthy and rubicund person may as well prove quite impervious, the performer explaining that the strength of mind present is too great. The company will judge by the person's healthy exterior, forgetting that, notwithstanding, the mind within may be nothing very great. As the performer is standing and the company sitting, he must slant his hands downwards, or the pin will be seen. The hands experimented upon must, for the same reason, be kept low. Should anyone suggest a pin, that article must be at once dropped, the performer being, of course, provided with reserve ones. This part of the trick is very seriously carried out, the performer congratulating himself and the company upon a state of atmosphere which enables him to exhibit such satisfactory results.
The Animated Skull.—The performer places two ordinary chairs, which may be examined, back to back, and a yard or so apart. Across the backs he lays a piece of plate glass, previously examined, a perfectly transparent table being thus formed, and one, as the performer will explain, impervious to electricity. Upon this table the performer places either a real human skull or else a pasteboard imitation of one. The imitation is recommended, the performer explaining that the reason for its use is that the feelings of some might be shocked, which really might be the case. The skull is examined previous to being placed upon the table, the company being safely depended upon for not noticing anything suspicious in the fact that the underside is very much rounded. The skull now answers questions, giving one nod for "Yes" and two nods for "No." What questions are asked must depend upon the wit of the performer, and the nature of the company assembled. Arithmetical problems should be solved, as the skull can give any number by means of nods. As a finale, the skull is asked if it would like to continue the performance, to which a couple of slow shakes are given.
Our old friend, the black silk thread, is at work again here. A piece is stretched across the stage, tied up out of harm's way when not in use. As soon as the skull is placed upon the glass the thread is brought down to the level of the mouth, and made to enter there. The imitation article has a deep indentation at this place. In other cases the thread is brought under the projecting nasal bone. A slight movement of the hand causes the skull to nod, so long as the thread is in position, and the performer may pick it off the glass at any moment, to show that no connection exists. The slow shake is done by manipulating the thread sideways. It cannot be prolonged, as it tends to work the skull off the glass. The rounded underside is to render the rocking movement easy. In some cases a tiny bead of wax is fastened upon the thread, and this affixed to the skull, at the back.
[CHAPTER XIX.]
FINAL INSTRUCTIONS.
Having at length brought the beginner to that point where he will first have to shift for himself in real earnest, I wish to leave him in a position to do credit to my tuition, and, with this object, impart a few hints for his guidance.