When the first female spirit appeared it was, in reality, a young woman, dressed in a gorgeous white costume without paint, hence the light was turned up instead of down, in order that she be visible. Rhinestones and Sumatra gems being cheap, she was plentifully supplied with "diamonds," although many of those who are the queens or spirit guides or "controls" of wealthy spiritualistic fanatics wear real diamonds, the gift of their wealthy charge, or "king" as they usually call him.
When she started for the cabinet she used her hands to keep her robe from under her feet, and as she went stooped lower and lower, until, as she disappeared in the cabinet, she went on her hands and knees. This is what caused the appearance of "dematerialization."
When Mr. Smith's son, Eddie, came from the cabinet, he was represented by a boy of about eight years of age, the son of one of the female "spooks" upstairs. He receives two dollars a night for his services, the same as the larger spooks. He was powdered until he was very white, a blond wig put over his own hair, and dressed as most boys are at the age Mr. Smith's son died. Mr. Smith recognized him by his size, his light complexion, and flaxen hair, and the fact that he called him "papa" and gave his correct name. His father was "made up" from the description given by the medium, and acknowledged by Mr. Smith as correct. Of course he knew his own name, for it was given him by the slate-writer. . . .
We now come to a part of the phenomena that all spiritualists who have witnessed it will swear by. What is referred to is the materializing and dematerializing of the spirit from the floor and before your eyes. In this you see first a small light, which grows larger and larger, until there stands before you a fully formed female or male spirit, as was described in Mr. Smith's experience.
In order to accomplish what he witnessed, the same spook who had before been recognized by a gentleman as "his queen," prepared herself in the following way: Divesting herself of all clothing she donned simply a long chemise that reached her shoe tops. She drew on a pair of white stockings, and over them a pair of white slippers. Into her hair and ears she put rhinestone diamonds, and around her neck a necklace of the same beautiful but valueless stones. On each ear lobe and around her neck were put small spots of the luminous powder to represent the diamonds while it was dark. Her face was powdered and her eyebrows and eyelashes darkened, while a dark line was drawn under each eye. She now took a black mask that covered her head, and her "robe" in her hands, and went down to the cabinet. Arriving there, she put the black mask over her head, to prevent the luminous diamonds being seen until the proper time. She carried her robe in a black bag. Crawling from between the curtains and under the table, she exposed on the floor a small part of her robe. This she shook and moved about, allowing it to escape from the bag until it was all out. She was now from under the table and on her knees, and it was time the head show on the form, so, getting close to the robe, she threw off and under the table the black mask. The shape was now the size of an adult; she adjusted the robe to her person, and rapped for light. As a matter of course, when any light was made the luminousness of the robe was drowned, and she appeared in simply a white costume. The necklace and eardrops could now be seen, but when the light was such as to reveal them, the luminous spots had disappeared, leaving the spectator to think the ones he now saw were the ones he had seen in the dark. The process of dematerialization will now be apparent, and a description will only tire the reader. One small spook was all that was required, as he could be made to represent boy or girl as was desired, by clothing him in the garments of either sex.
At the close of the seance, the full force of "spooks" came into the room. After disappearing, they shinned up the ladder, drew it after them, closed the panel and the trap in the floor above it, replaced the carpet and pushed over the place a heavy bedstead from which they took the castors. They now carried the ladder downstairs and concealed it in the coal house as they went through it on their way home. They will get their pay next day.
Should ever so close an examination of the cabinet be made, you would not find anything wrong. This particular medium has taken investigators into the cellar beneath the cabinet, and the room above it, scores of times, yet nothing was discovered.
You are not always to search for the trap in the ceiling, nor yet in the floor. A trap is not possible in the ceiling except a closet is used as "cabinet," and the ceiling is of wood. Where this condition of things does not exist, you must search elsewhere. The floor is a very likely place when it cannot be made in the ceiling. If you do not find it there, examine the base or mopboard. If it is in the mopboard you will find, upon examination, that there is a joint in it near the corner of the cabinet, but you will find it solidly nailed with about four nails each side of the joint. This appearance of extraordinary solidity will be absolute proof that it is NOT solid.
The nails are not what they appear, but are only pieces about one half inch in length, and do not even go through the board. The piece is fastened on the other side with a couple of bolts that hold it very firmly in place. There is a corresponding opening in the mopboard in the next room, although no attempt is made to so carefully conceal it, as no one is ever admitted to it. Through this trap the "spooks" enter the cabinet by crawling and wiggling. It is not a very desirable trap, for the mopboard is scarcely ever wide enough to permit of a trap that the spook could get through in a hurry; besides, they must assume their costumes after they get into the cabinet or tear them to pieces. You can see how this would make it very inconvenient.
If the room is wainscoted the spook will have all the sea room necessary in his trap, for it will extend from just below the molding on the top of the wainscoting to the floor behind the strip of quarter-round. . . .