R E V I S E D E D I T I O N

THE
LONDON
MIDNIGHT
GHOST
SHOW
with complete show
script as written by

ROBERT A. NELSON
REVISED EDITION

EDITED BY
B. W. McCARRON

MAGIC WORLD PUBLISHERS

AN IMPRINT OF BLAMEPRO.COM
 Copyright © 2021 by Magic World Publishers.
All rights reserved.

The copyright holder hereby lays claim to new

typesetting and layout; significant grammatical and
typographical corrections; revisions to the original text
for content and clarity; fourteen added illustrations;
three new chapters; added vintage catalog description;
table of contents, author biography, introduction,
editor’s notes, effect descriptions, effect methods, and
recommended titles.
This is a revised and updated edition of “Century
Midnight Ghost Show” by Robert A. Nelson, published
in 1937 by Nelson Enterprises, Columbus, Ohio USA.
Some content previously appeared in the “Nelson
Enterprises Catalog No. 24”, copyright 1953 by Robert
A. Nelson, Columbus, Ohio USA.
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460 Century Mid-Night Ghost Show

Ghost shows or spook parties have taken the country by storm. In theatres they have
proven to be a most profitable form of entertainment for the operator. It has been our
pleasure to build many ghost shows for our various clients, and to see them enter the field
of big money.
Not only has the Nelson Enterprises framed many of these shows for others, but
launched one of the biggest and finest ghost shows ever to take to the road, the 20th
Century London Ghost Show, now in its second year! The demand continuing for ghost
show equipment, we decided to offer a full and complete show as a single unit, at a
specified price, modeled and patterned after our original London Ghost Show, which
embodied the best effects obtainable.
This show we now offer will give approximately one and a half hours of real, thrilling
entertainment. It does not need moving pictures to support it. It is a real, solid piece of
nourishing entertainment. Divided into three parts, the show moves along at a thrilling
pace, surprise after surprise.
Opening the show, various phases of spiritualism are demonstrated, the reading of
sealed billets, trance version; clairvoyance, thought transference, spirit slates and
messages, levitation and other manifestations in full light—the original spine-chilling
ghost story as told by our Alla Rageh places the audience in a receptive mood for the
second section of the show, which includes rope ties, various manifestations of an en-
tranced medium, lots of good comedy, table lifting, supporting members of the audience.
Tricks and planks for mischievous ghosts, on and off stage . . . while the third section is
devoted to real thrills and chills—ghosts, skeletons, phantom faces, goblins and the like,
on the stage, and in and over the audience—clutching hands, sound effects and a
sensational finale!
With this show, patter and routines, which are most complete, you are equipped to
give a ghost show equal to any on the road! We make this statement without reser-
vation! Not only do you receive the show in its entirety, but the necessary advance
material to immediately start playing, and without further expense.
With the Century Ghost Show, in addition to all necessary apparatus, you will receive
a full 100 foot moving picture trailer with SOUND, 50 window cards in colors, 8
newspaper mats, publicity stories and a pad of contracts! Also, data on booking and how
to handle the show—in other words, all you need is one assistant, and a few rehearsals,
and you are ready for real money in the best of the theatres.
Price, complete . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $100.00
 T HE L ONDON M IDNIGHT G HOST S HOW

(previous page)
Advertisement for the “Century Mid-Night Ghost Show”
(later changed to the “London Midnight Ghost Show”), as
it first appeared in the 1937 Nelson Enterprises catalog No.
17. When first introduced, the $100.00 cost was the
equivalent of over $1,860.00, in today’s money.
(source: dollartimes.com)

Contents
PAGE
Original Catalog Advertisement.............................. 4
Introduction .......................................................... 6
PART ONE
Opening Lecture ............................................... 8
Crystal Gazing Act .......................................... 10
PART TWO
Pitch Book Sales ............................................. 12
Séance in Full Light ........................................ 13
Stooge Tomfoolery ........................................... 14
Spirit Rope Tie ................................................ 15
Floating Table ................................................. 18
Spirit Slates .................................................... 20
Static Electricity ............................................. 22
PART THREE
A True Ghost Story ......................................... 25
Floating Spirit Faces ....................................... 31
Materialization of Spirits ................................. 34
Notes on Using Luminous Effects .................... 35
Closing Lecture ............................................... 37
Booking and Exploitation .................................... 37
Nelson Ghost Show Poster ................................... 40
About the Author................................................. 41
Thank You........................................................... 42
Recommended Titles ............................................ 43

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 T HE L ONDON M IDNIGHT G HOST S HOW

Introduction
There’s a pleasant mystique surrounding ghost or
spook shows, which were a staple of the show
business world from the mid-1930s to the 1950s and
beyond. For the performer looking to stage such a
spectacle for nostalgia’s sake, or for a local theater
group who’s looking to produce something that’s just
plain different for their next production, this book is
for you.
Stage performers who had a run of, say five nights
in a town, would do their regular show each evening,
with a matinee on the weekends. Through trial and
error, performers discovered that they could add an
extra performance on a Friday or Saturday—at
midnight—and make it something special for the
locals. A specially-prepared magic and mindreading
act was devised, often paired with an easily-
obtainable horror film, and presto! —the Midnight
Ghost Show was born.
And run they did—throughout the year—not just
during the Halloween season.
Robert A. Nelson took full advantage of the Ghost
Show craze, by not only selling the various props and
gimmics for other performers to use, but also touring
with his own spook show. Using lessons learned from
his stage experience enabled Nelson to assemble a
quality show that he sold to others—for big money.
Because you, too, might like to get your hands on
Nelson’s show script, we’ve made available this book
to a new generation of performers and audiences. But
it’s no longer just a bare-bones script. I’ve taken the

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 T HE L ONDON M IDNIGHT G HOST S HOW

liberty of supplementing the original lecture with the

descriptions and/or methods of the various separate
effects used in the show. Hopefully you’ll find this
extra material helpful to be of value.
And to help keep you in the mood for ghostly
hijinks and fun, as you journey through this book,
I’ve included a few spook-related photos from my
personal Nelson collection. Who knows? Perhaps this
book will stimulate your own collecting urge to help
keep Nelson’s legacy alive.

With best thoughts,

B. W. MCCARRON

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 T HE L ONDON M IDNIGHT G HOST S HOW

The London Midnight Ghost Show

PART ONE
Opening Lecture
“Good evening, my friends. I know that curiosity
and a desire for an unusual evening of entertainment
have brought you into the portals of this theater.
However, I assure you that you will not be
disappointed in what you are seeking, though I would
respectfully request that you regard this theater as
my church for the evening. During the program, in
which I will present genuine spirit phenomenon—
and also, I warn you, several fraudulent tricks—I
challenge you to detect the fraudulent from the real.
At any rate, enjoy yourselves as my guest of the
evening.
“The first part of the program will cover that phase
of mediumship known as clairvoyancy and
clairaudience, during which time I will answer and
read sealed billets, also divine the thoughts in your
minds—and those thoughts that have not been
expressed upon paper. I urge you to believe that this
work is scientific and genuine.
“I am going to offer for your approval a series of
experiments in mental telepathy, clairaudience and
clairvoyancy, or what might be more commonly called
crystal gazing. I shall not enter a lengthy discourse
and tell you what is possible to do or not to do under
the circumstances, but instead, I shall immediately

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 T HE L ONDON M IDNIGHT G HOST S HOW

proceed to the most interesting part of the program:

that of divining the thoughts in your minds and
answering your questions.
“In just a moment, my assistants will pass among
you in the audience (start now), distributing small
slips of paper, upon which I suggest that you write
one important question and sign your name or
initials. If you do not get a slip, write the question on
your own paper, or merely think of your question, as
I intend to answer many this evening that have not
been written, but merely thought of.
“I request that you write your questions for two
reasons. First, it aids you in concentration,
registering the impression on your mind, much in the
fashion of a sensitive film in a camera. Second, it
definitely establishes the fact that I am correct or in
error in divining your question. There can be no
compromise!
“Do not let your neighbor or closest friend see
what you write on your paper. Incidentally, your
questions will not be collected.
“When I call your name or initials, please respond
immediately by saying ‘here’ or ‘present’ and hold
your hand high in the air, in order that I may locate
you promptly, and answer your question.
“Let me remind you that any noise or disturbance
in the audience makes it very hard for to get the
mental impressions in the crystal; and for that
reason, I request that you remain as quiet as
possible.”

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 T HE L ONDON M IDNIGHT G HOST S HOW

(Editor’s note: It is here that a request to “please

turn off or otherwise silence your cell phones” is in
order. After all, theater patrons are used to this
admonishment, as it appears before the program
begins.)
“And now … the visions in the crystal are
beginning to form … I get the initials of …”

Crystal Gazing Act

The performer now goes into the crystal gazing act,
which will consume 12 to 18 minutes, as desired. As
the spectators enter the theater, they are solicited for
questions, which they write on the (impression) clip
boards, the spectators retaining their questions.
When a sufficient number of questions have been
secured, the assistants withdraw from the lobby, and
take same back stage, where the performer copies
same with a very sharp pencil on a small card. This
card is placed under the crystal in the hand, and the
performer reads through the crystal to get the
questions.
To answer to questions, routining this part of the
show, and how to handle the clip boards, effects, etc.,
see my two books, More Effective Answers to
Questions and Sensational Effects.
If the performer wishes to work “sealed billets”
(and it is a fine phase of mediumship), see the data
in the Sensational Effects book. Patter along the lines
shown in “Effective Answers.”

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 T HE L ONDON M IDNIGHT G HOST S HOW

At conclusion of crystal reading, patter like this:

“The visions are now growing very dim in the
crystal, and I fear that I can read no more. I must
retain much of my strength for later experiments, but
before passing into the second portion of my
entertainment, let me show you a remarkable
experiment in mental telepathy.”
“Lately, you have read much in the press and
magazines of experiments being conducted by many
universities and colleges in the true phases of mental
telepathy, where it is definitely acknowledged to exist.
In mental telepathy, my experience has taught me
that it is much easier for the uninitiated to send
thought vibrations than to receive them.
“Following the exact line of experiments as carried
on in our loading universities, I will ask my assistant
to enter the audience with this deck of ordinary
playing cards (Svengali deck) and any person ... mind
you, any person, and I do not have any confederates
or stooges planted among you ... will be invited select
one card. Allow no one to see it. Most of all, do not let
my assistant see the card, that he might in some
fashion, signal the card to me.
“Sir, I want you to make a mental picture of the
card ... visualize it in your mind. That is fine … my
impression is that the card is a red one ... please
answer yes or no. Yes, thank you. I see distinctly …
it is a diamond and … just a minute … count, in your
mind, the number of spots on this card … one, two,
three, four ... yes, that’s it ... the four of diamonds.”

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 T HE L ONDON M IDNIGHT G HOST S HOW

(Applause. Assistant returns to the stage and, with a

few closing remarks, the first act is closed.)
“Thank you, my friends. An excellent experiment.
There will now be a short intermission of five
minutes, and then into the next part of the program,
which will be spiritualistic manifestations. Thank
you.”
(The card experiment is performed with the
Svengali forcing deck. Naturally, the performer
knows what card will be selected.)

Five-minute Intermission.

PART TWO
Pitch Book Sales
Much additional revenue can be derived from the
sale of a book, at this point in the program. We
suggest our Six Lessons in Crystal Gazing book, or
other low-cost merchandise. As an added
inducement, one or two personal questions are
answered free with the purchase, in person after the
show, or a mail coupon can be enclosed.
The book is introduced by the performer, briefly
explained, as is the question privilege. Books are sold
in the audience during the intermission. Every

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 T HE L ONDON M IDNIGHT G HOST S HOW

operator should investigate this extra source of

revenue.1

Séance in Full Light

“Now, I shall attempt to introduce several forms of
spiritism, such as many of you have no doubt
witnessed in séances and gatherings of this kind. I
was amused one day by a medium—who had before
her a table, such as you see here, and on that table
were the customary tools of the spirit medium’s
trade: a tambourine, pistol, bell hammer, and a glass
plate. She exhibited a cloth, such as I have here, and
held the cloth in this fashion, so that it concealed
from the audience the articles on the table.
“In a moment, and to the amazement of everybody,
the plate jumped off the table, right over her
shoulder, and broke into a thousand pieces on the
floor. Serenely, she smiled, and said that the naughty
spirits had done that.”
(Same action takes place as the performer talks.
See instructions included with the “Spirit Séance in
Light” effect for operation. This effect is also known
as the “Daylight Séance” trick, which utilizes a fake
hand, attached to a rod. The far end of the cloth is
attached to the rod, so that while it appears as

__________
1 The publisher of this book offers several camera-ready pitch books
which can be printed at extremely low cost, and include custom copy
that touts the performer’s act or mail-order question-answering or
horoscope business.

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 T HE L ONDON M IDNIGHT G HOST S HOW

though both the medium’s hands are holding the

cloth, actually, one of the performer’s hands is left
free to accomplish the various “spirit” mani-
festations from behind the cloth.)
“Then, distinctly, we hear the ringing of a bell.
Then the hammer was driving a nail into the table ...
and bang! The tambourine was sailing around, out
from behind the cloth, and into the audience, while
she stood there, just as you see me. And then I got a
jolt, for the pistol went off with a loud bang.
“She then proclaimed the séance was over … that
she caused the spirits to materialize and play their
pranks under bright lights, which is something that
nice spirits seldom do.
“My friends, that medium was a fake—a bogus
medium—and here is how she performed the trick.”
(Expose the trick by revealing the hand off the rod,
with the performer’s free hand scratching his head).
“I know many of you were fooled, although I
warned you, earlier, that a few tricks would enter my
program, just to see if you could detect them; and to
show how clever some mediums really are, in their
attempt to fool you.”

Stooge Tomfoolery
“And now, if two or three ladies and gentlemen will
come forward on the stage to act as a committee, I
assure you that you will be treated with the utmost
courtesy and dignity. I would like to have professional

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 T HE L ONDON M IDNIGHT G HOST S HOW

men and women, doctors, lawyers, school teachers,

business people, and oh yes, any mediums in the
house are especially invited.
“Thank you, friends. Now, if you will stand on
either side of me, I will show you another experiment
as you just witnessed, only on a larger scale, and
without resorting to trickery.”
(At this point, the assistant off stage, with black
thread running from side to side across the stage,
manipulates the thread so that it catches in the hair
of one of the committee [a stooge from the audience],
causing the hair to rise. The stooge becomes
frightened, wants to leave the stage, etc., but the
performer holds onto him, finally quieting him down.)

Spirit Rope Tie

(Ropes are now passed for examination among the
committee.)
“Please examine these ropes, which I assure you
are quite ordinary. They came from a nearby clothes-
line. Please tie one end of the rope securely around
my right wrist, and do likewise with the other rope on
the left wrist. Thank you. Now, I will cross my arms,
and please bind them securely at the back, so that I
cannot possibly move same. Now please verify the
knots, which you may seal with wax, if you desire.”
(Performer is apparently tied securely by the
committee.)

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 T HE L ONDON M IDNIGHT G HOST S HOW

“Now, my friends, place upon my lap the pistol,

tambourine, bell and hammer. Move the cabinet or
screen in front of me, and then stand back from the
cabinet, as anything is liable to happen.”
(The pistol fires, tambourine rings, bell rings, and
hammer pounds. Instantly, the performer calls out,
the curtains are opened, and there he remains
securely in the chair, and his position and knots are
again examined. The performer gets the stooge in the
cabinet to help.)
“My dear friend, won’t you please enter the cabinet
with me, to keep my company, and then you will be
an eye witness to what actually goes on.”
(After a lot of persuading and the performer’s
assistant pushing him into the cabinet, the stooge
sits on a chair beside the medium, holding his
hands.)
“Ready? Please close the curtains.”
(Stooge now hollers and yells: “Help, help! Take
them away! Let me out of here! Let me out!” A lot of
confusion ensues, the pistol shoots again, more noise
from the tambourine and hammer. Presently, out
comes the stooge, apparently scared to death, with
his coat turned wrong side out. He jumps into the
orchestra pit and scrambles out of the theater.)
“Quite a brave man, I’d say, though not
accustomed to ghosts. Unless there are others who
desire to sit in the cabinet with me ... isn’t there a
blonde in the house, who would like to hold my
hands? No? Well, then, release me please, and again

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 T HE L ONDON M IDNIGHT G HOST S HOW

examine the knots to see that they have not been

tampered with. Thank you, gentlemen.”
Method: Two lengths of rope
are used. Have the ropes tied
around the right wrist, so that the
ends of both ropes hang down (as
shown in the drawing) after two
very firm knots have been made.
The right hand is then placed
behind the back and the left hand
then brought behind, also, and
placed on top of the right.
Just previous to this, however, the right hand has
twisted (unbeknown to the audience) the ropes AA
and BB twice at point C, around each other. The
twists add themselves to the knots and appear as
part of them. The twists are hidden by the left hand,
which is then tied to the right in as secure a manner
as the spectator wishes.
The performer then steps behind a screen or into
a cabinet, and the usual manifestations occur,
although the tie can be thoroughly examined at any
time.
In order to free himself, the performer simply gives
two turns with the right hand in the opposite
direction to the twists in the ropes, thus allowing him
sufficient slack to withdraw his left hand with ease.
By reversing this process, he gets back into the ropes
and can be found to still be securely tied.

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 T HE L ONDON M IDNIGHT G HOST S HOW

Floating Table
(At this moment, an ordinary glass lamp chimney,
resting on a back table, slowly moves across the table
and crashes to the floor. This is accomplished by a
thread running offstage, which is pulled by the off-
stage assistant.)
“Well, what’s going on here? This theater really
must be haunted! I desire now to show you a
demonstration of spirit levitation ... the levitation of
heavy material objects by spirit power. Here I have a
heavy table … I judge it weighs between 40 and 60
pounds. I want my assistant to sit at one side of the
table, and any two of you at the other sides. I will
remain here.”
(Sits at table. A candle is placed on table by
assistant, and lighted. All sit in chairs at table. If any
more committee members are solicited from the
audience, they gather around.)
“Now, would everyone please place only your
fingertips on the table top. Let us all concentrate, and
earnestly wish that our combined forces will be
sufficiently strong to attract many spirit forces that
will manifest themselves by moving or raising the
table. If we are successful, and the table does move,
or rise, do not be frightened, but move with it
wherever it may go, as it will be the presence of
friendly spirits.”
(Table moves, bangs around, with everyone
following same. Stage is now dark, except for candle
light.)

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 T HE L ONDON M IDNIGHT G HOST S HOW

“Manifestations are unusually good this

evening...we have attracted much supernormal
strength...remember, my friends, all hands on the
table, with only the fingertips touching the top.
“Will one of you extra people oblige me by sitting
on the table? Madame, may I ask you a personal
question? Your weight is ... ah … 132 lbs. Thank you,
a combined weight of more than two hundred
pounds. Let us strive again for success. Let us remain
quiet. Yes, it’s moving ... the table is off the floor …
please, no one break the circle, as the consequences
might prove tragic. Fine, steady.”
(Table bangs around, with spectator on same, and
finally dumps the spectator off the table. Medium
nearly faints. See full instructions for operation in the
Spiritualistic table lifting effect, sold separately.
Lights now come up, performer thanks committee for
their cooperation and dismisses them.)
Method: The performer
and an accomplice each
wear a leather harness with
a folding metal hook. The
harness is covered by the
wearer’s shirt and jacket.
When the time is right, the
performer and the assistant,
situated opposite one
another across the table,
unfold their hooks so that
they extend approx. two inches from their stomachs,
more or less at belt level. The hook engages the

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 T HE L ONDON M IDNIGHT G HOST S HOW

underside of the table and is lifted by the actions of

the performer and his accomplice.
As the weight is distributed across the wearer’s
shoulders and back, it is an easy matter to lift the
table. The weight of the table is exaggerated in the
lecture, making the table seem heavier than it really
is. This is for showmanship. A lightweight person can
sit upon the table and the table still manages to lift a
few inches from the ground.
If the performer is slight of build, a pair of
assistants can be outfitted with the “hook harnesses”
during the intermission and used as the motive
power for the lift. This is a very deceptive levitation.

Spirit Slates
“Here, I have a pair of ordinary school slates,
perfectly clean on both sides, although for future
precautions, I will wipe them with a rag. With the
cooperation of the entire audience, I will attempt to
secure upon these blank slates a message for some
one or two persons in this audience. Who the lucky
person is will depend entirely upon you. If you wish
a message, just concentrate as strongly as possible
on what message you would like to receive.
“As this is one of the serious portions of my
program, please let it remain very quiet. The slates
are blank, as you see. I will place them together, and
tie them with ribbon. Are there any mediums in the
house ... any one of you who have studied

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 T HE L ONDON M IDNIGHT G HOST S HOW

spiritualism or attended developing classes? Thank

you, ma’am, I perceived that you were very psychic.
Would you mind coming forward and helping me with
your presence to get the message?”
(Get two helpers, if possible, who stand beside you
and hold the slates at the side with both hands.)
“Quiet, please. I ask your indulgence only for the
moment. If there are no indications of success
presently, I will be obliged to discontinue the
experiment, as I have much more to show you. Did
you hear that? It sounds like chalk, writing on the
slate. I am sure we will be rewarded, and to you, my
friends, I must give much credit. Let us open the
slates … and behold! There is a message.”
(Reads from slate.) “Is there a Miss B. F. Green in
the house? Thank you, Miss Green. You were
mentally asking for a message? Sure, you have been
... because it is a message for you, and signed
‘Mother’. I’ll read it to you: ‘Dear Daughter, it wasn’t
Harry’s fault,’ signed ‘Mother’. Do you recognize the
character, and even the handwriting? Thank you, my
friend, and you, too (to the mediums), for this
wonderful test.”
Method: Use your favorite slate effect. Nelson sold
various flap slates, as well as the locking “Dr. Q
Slates,” in his catalog.
The scratching sound is made by the performer’s
thumbnail, on the underside of the bottom slate.
Modern performers have been known to use a
scratching sound effect that is played back from their
smartphone. (One simple method for doing this is to

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 T HE L ONDON M IDNIGHT G HOST S HOW

use a custom ring tone. The offstage assistant calls

the performer on his phone, which triggers the
playback of the “scratching” sound.)

Static Electricity
“And now I wish to show you a very scientific
experiment in static electricity and the power of
levitation.”
(Assistant enters with electric light bulb with
socket and extension cord. Performer turns out light,
removes from socket, and assistant exists. Performer
begins to rub light on sleeve — then the stage lights
dim, as the bulb in his hand again lights.)
“Isn’t it a proven fact that one can easily generate
static electricity? Often you have noticed the static
electricity when combing your hair, rubbing a cat’s
back, or shuffling over thick carpets. An electric
spark will be generated, which can be seen and

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 T HE L ONDON M IDNIGHT G HOST S HOW

heard. In rubbing the bulb against the sleeve, I am

generating static electricity, which I shall presently
release, and it will be sufficient so as to dimly
illuminate the globe.”
(Lights out, bulb burns and is operated according
to the instructions that accompany the bulb).
“See, it burns lightly in the darkness, though only
a very small amount of electricity is passing to it.
Watch — see, it remains in mid-air, supported by no
visible means — and at my command, it moves at will
— here — there and thither.”
(Manipulates bulb over the stage footlights, and to
the first few rows of the audience. The patter
continues ad lib, according to the movements and
presentations of the bulb, which finally returns to the
stage. Performer turns off bulb at same time as the
full stage lights come up. Performer takes a bow.)
“That concludes the second portion of my show. A
short intermission, and then I’ll be back for the dark
séance manifestations.”
Method: The “Floating Bulb” is a dealer item. You
may have seen Blackstone make a feature effect with
it. The lamp should float gracefully; never with jerky
or spasmodic movements. This beautiful illusion is
also a natural for your promotional (still) photos.
Nelson’s floating effect used a battery-powered
bulb, basically an Atomic Lamp novelty, although
made of plastic for durability. It also had a built-in
on/off switch. If the bulb is to float around the stage,
at least one assistant is required. The modus

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 T HE L ONDON M IDNIGHT G HOST S HOW

operandi—dark thread—is well-concealed by the

darkened or dimly-lighted stage.

Five-minute Intermission.

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 T HE L ONDON M IDNIGHT G HOST S HOW

PART THREE
A True Ghost Story
(Open with a semi-dark stage. Performer walks to
center stage and relates this true (?) ghost story.)
“Let me relate to you one of the strangest
experiences that ever befell a human. In 19—, I was
assistant prosecuting attorney in ________________ (a
large nearby city). I was newly out of law school,
ambitious and eager to make my mark in the world.
I had settled down to the routine of the work, and
with the newness wearing off from this job, I spent a
great deal of time in the study and investigation of
Spiritism.
“In fact, I acted as special investigator to our office,
and was assigned to the job of investigating
mediums. I found them all to be fakes, swore out
warrants, and allowed most of them the opportunity
of either leaving town or going to jail.
“Fate strikes in peculiar ways, as I was soon to
learn. Why had I been intrigued by Spiritism,
denounced its teachings, and then find myself thrust
into the man-sized job of prosecuting John Thomas
Dollin! John Thomas Dollin was a murderer, and a
cold-blooded fiend. He killed his wife in a fit of
jealousy. The scene and details of that crime will ever
remain in in my mind. As I stand here, I can see that
horribly mutilated corpse on the floor. Some peculiar
chill grasped me when I witnessed the sight, never
realizing the tremendous and profound effect it was
later to have on my life.

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 T HE L ONDON M IDNIGHT G HOST S HOW

“Committing this foul crime, Dollin escaped, and

was not captured until many months later. He was
bound over to the Grand Jury for first degree murder.
And when his case was called … I was the man who
must prosecute. My supervisor lay seriously ill in the
hospital with pneumonia. I did not relish the task—it
being the first murder charge with which I had come
face to face. That Dollin was guilty, was beyond a
doubt. But it was my duty to convince the jury that
he was guilty and demand his life in return for his
crime.
“The case became quite sensational, and may be
recalled by many of the press at that time. Fighting
tooth and nail, and against all odds, due to a skilled
and unscrupulous defense, I won my case against
John Dillon.
“Rage, hate and the very devil were reflected in
that man’s face when the jury found him ‘Guilty as
charged.’ Twenty feet from me, in that law-abiding
courtroom, stood the condemned. And then and there
did he swear a terrible oath, with all the blasphemy
and profanity he could muster, that he would take
my life in revenge. He hurled that vow at me with all
the hatred evilness that a Satan might possess. He
swore that he would kill me—that he would rise from
his very grave, if necessary, and strike me to the same
damp earth that I had so earnestly fought to send
him.
“To say that I was not afraid, as I stood there in
that large courtroom, filled with friends and officers
of the law, would be an untruth. I did not fear for my
life, or bodily harm. Something strange, supernatural

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 T HE L ONDON M IDNIGHT G HOST S HOW

—something or some kind of a fear that I had never

experienced almost overwhelmed me. I recall that I
grew faint, as Dillon was dragged, screaming and
cursing from the room. It is true, had I not been so
persistent in the performance of my duty, that Dillon
would have gotten off with a much lesser sentence.
“Dillon, and I can see his face now, was an evil
man. He bred uneasiness in his presence. He smelled
of the devil; he was the devil in person. The trial was
over, the State had won; Dillon was condemned to
die.
“Weary months passed. The memory of him faded,
as other work and interests came into my life.
Suddenly, I realized he was to be executed that night!
A chill ran over my body. I stayed in ... might he not
somehow escape and endeavor to take his vengeance
out on me?
“The execution took place as scheduled. Dillon
died with a snarl on his ugly, twisted lips — and a
curse upon my life. He’s vowed to kill me yet! Yes,
he’s promised to come back from the grave and strike
me dead.
“About two months after the execution and burial
of Dillon, I attended a gay party.
“During the evening, the subject of Dillon came
up, and of his strange vow to kill me, even after death.
Little now, did Dillon worry me. He had returned to
the earth from whence he came. However, I don’t
know just how the subject came up, but before I
realized what had happened, I had made a wager with
my companions. A wager that I was not afraid to go

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 T HE L ONDON M IDNIGHT G HOST S HOW

alone to the cemetery at eleven o’clock at night, and

sit on the grave of John Thomas Dillon until the break
of day, and dare him to come forth and harm me.
“As it dawned upon me what I had gotten myself
into, I was a little unnerved. I was in fact, angry at
myself for having accepted the challenge and a side
bet of $100.00. It was then about ten o’clock at night.
Cautiously, and with a feeling of deep regret in my
heart, I started for the grave of John Dillon.
“I felt a little depressed, yet strangely excited and
expectant. I had a bottle with me. I took a drink, as
confidence and steady nerves returned to me. I recall
that I whistled—like the little boy in the dark—as I
walked to the spot indicated as the final resting place
of my revengeful friend, John Dillon.
“With an air of bravery, though false, I set down
upon the soft mound of damp earth and announced
my presence: ‘Well, John Dillon, you old so-and-so ...
here I am. I’ve come to accept your challenge ... to
show you that you are dead ... buried, and almost
forgotten. That you can’t hurt me, or any living soul.
I defy you ... I challenge you ... to show your hand.’
“As I talked, I built up a sort of hysterical courage.
I tried to believe that what I said was true—yet, I was
scared to death. I knew I was in the presence of the
dead ... of a murderer ... one who had sworn to take
my life. How long I sat there, talking to myself to keep
up my courage, I cannot say.
“I became strangely aware that I was not alone. I
was in the presence of something ... not someone. I
called aloud, hoping I might see some of my friends

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 T HE L ONDON M IDNIGHT G HOST S HOW

lurking about to see if I was keeping up my part of

the wager ... but only a hollow echo returned. My own
voice sounded strange to my ears; I had never heard
it like that before.
“There appeared to be a cool, gentle breeze blowing
upon me, yet the trees and shrubbery did not move.
Beads of perspiration stood out on my face and
head... though I know my temperature was below
normal. Chills attacked me ... my hair stood on end
... I tried valiantly to take hold of my now-shattered
nerves ... the hour of death was at hand. And then I
SAW JOHN DILLON!
“It wasn’t the same John Dillon as in life. He
appeared shrunken, withered away, yet the same evil
eye and snarl held me fascinated, like a snake
hypnotizes his victim. I wanted to scream for help,
but only a rattle came out of my throat ... a death
rattle. I thought to myself … fool, what a fool you have
been … and then I saw that form move … in slow
motion … from behind and underneath that
tombstone … and approach me with an upheld knife.
“I tried to scream ... and again, the death rattle
sounded in my throat. My hands unconsciously
approached my throat ... I wanted air … my heart
pounded, hammering, hammering against my ribs.
Alright, if I was to die, let me die … but not this way
… I had only done my duty. Still the phantom body
came … his upraised knife gleaming in the autumn
moonlight. My hands touched the cross around my
neck and I uttered up a prayer that my life would be
spared.

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 T HE L ONDON M IDNIGHT G HOST S HOW

“I must have fainted. For, hours later, I awoke in

the city hospital … and there, surrounded with
friends … good, old familiar faces … I first thought I
was in heaven. My sanity must have been temporarily
unbalanced, for it took some lengthy talking to
convince me that I had escaped the awful vengeance
of John Dillon.
“I relate my experience, not to cause any of you to
think that I was frightened out of my wits, or
temporarily out of my head, and imagined all this
occurred to me, but to tell you these all-important
facts.
“A careful and thoroughly scientific investigation
of the grave of John Dillon was made the next
morning. The heavy tombstone, which weighed over
500 pounds, had been moved a distance of six and a
half inches … and there, on the ground, lay the knife
that I saw … gleaming in the hands of the phantom.
It was later identified as the property of Dillon. Yet,
the only footprints in the soft earth were MY OWN!
“Such facts could not be reputed by any sane
person. I am sincerely convinced that the spirit …
ghost or soul … surely not his soul … visited me that
night, coming from underneath that heavy stone …
intent on carrying out his threat to take my life.
“What power intervened, I don’t know. I am here
today, alive happy. News bulletins the world over
carried story after story of this strange experience, yet
today it remains unsolved, unless we are to agree that
Dillon did come back from his grave, even
momentarily.

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 T HE L ONDON M IDNIGHT G HOST S HOW

“So, my friends, when I cause to materialize spirit

forms and apparitions of the past, appreciate in some
small way my feelings of that night. However, if you
feel the touch of some being upon your shoulder, be
not afraid, as only friendly spirits will attend here
tonight ... if at all, we are successful.
“Be not afraid. Remain in your seats at all times.
Let me warn you that any noise or unusual
disturbance may cause tragic consequences. At this
point, I ask your indulgence and respect ... the same
as you would insist from me, if I were to enter your
church. Regardless of your beliefs, bear with me, for
the next few minutes.”

Floating Spirit Faces

(Lights slowly fade into darkness. The performer
sits on a stool or chair, center stage, and exposes his
face to the red light produced from a flashlight with a
red bulb or lens. The “Floating Spirit Faces” effect
now ensues. The house is now in total darkness.)
“This light, burning on my face, is answer to any
skeptics who think that I might move about the stage
and produce the different manifestations that you are
about to witness. It also serves a more important
purpose—a point of focus for your eyes and thoughts.
Please, everyone—stare into my eyes—and you will
soon behold a sight never before seen. For I will cause
various spirits from the beyond to materialize and
present themselves. You may even recognize many of
these faces as your own dear loved ones—now gone.

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 T HE L ONDON M IDNIGHT G HOST S HOW

“Everyone will not see them, depending upon their

personal psychic powers and abilities. Stare into my
face—hold a steady gaze—concentrate—the
conditions are becoming ideal. Stare—stare—
steadily into my face. Hold that gaze—for in a
moment, I will extinguish the light, leaving the
theater in total darkness—and wherever you look,
you will see the presence of departed spirits. Hold
your gaze a moment longer on my face—be not
afraid—and you will see friendly spirits wherever you
look. Watch.”
(Go into blackout—using trailer film for sound
only—no light from the projector. Use luminous
ghosts, skeletons, etc., on the stage and in the
audience.)
(Out goes the red light, the illusion is produced,
though all will not see it, depending on their own
cooperation. During the illusion, patter continues
and it is well, at this time, for the assistants to
carefully expose one of the luminous faces to strong
light, and bring it on the totally dark stage, stand
beside the performer and away from the light rays—
turn the body, slowly exposing the face. That permits
all to see at least one face. Cause it to vanish behind
the body—to reappear elsewhere as a second ghost.
The luminous gloves on the hands can be used at this
time, if desired, or a member of the audience can be
wearing them and exhibit them then. The floating
faces effect itself lasts only a few seconds.)
“See them everywhere—faces in the audience,
illuminated with that heavenly glow. Faces of
others—a child here—an old man in that corner.”

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 T HE L ONDON M IDNIGHT G HOST S HOW

(The suggestions have much to do with the

imagination with the spectators. Now the red light
comes on, as do the dim footlights.)
“How many of you were able to see one or more
faces?”
(The response will be varied.)
“Fine ... yes, conditions are excellent. Again, my
friends, we will try again, to see if we cannot
materialize a full-size ghost, and let it walk among
you in the audience—though be not afraid. The lights
are going out—whatever you do—do not leave your
seat—and don’t be afraid.”

Method: While this was sold as a separate effect,

we’ll reveal it here. “Floating Spirit Faces” worked just
as described in the lecture. The gimmick is nothing
more than a piece of transparent red plastic—which
is cut out and taped to the lens of a flashlight.
By having the audience concentrate their gaze on
the performer’s face, illuminated by a red-lensed

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 T HE L ONDON M IDNIGHT G HOST S HOW

flashlight (on a pitch-black stage),

this image was being “burned” onto
their retinas. When the flashlight
was extinguished, blurry, greenish
“phantom faces” appeared
everywhere the spectators looked.
That condition was produced by the
retina, playing back the “burned-
in” image, now in a contrasting
color, to the spectators’ brains. We
call the underlying effect
“persistence of vision,” which is the
same principle that creates the
motion picture illusion from a
series of still frames.
—

Materialization of Spirits
(Total darkness now. If stooges
are used in the audience, for the
luminous makeup effect, one or two
large photo flash bulbs should be
set off—facing the audience, or
some flash light powder—a fairly
heavy charge. This is dangerous, so
be fully posted on the procedure
before attempting same. This flash
instantly lights up the luminous
faces in the audience, and they
remain that way until the lights are
full up.)

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 T HE L ONDON M IDNIGHT G HOST S HOW

(Use “There’s a Long, Long Trail A-Winding” as a

theme song, softly played. Now the assistants bring
on the luminous cross, with its back to the audience,
slowly turning to expose it for a few seconds, and on
around. Next, the luminous hands appear, with a
luminous face. In turn, they vanish and next, the
luminous skeleton is made to appear. This should be
attached to a long bamboo pole (fishing pole, jointed
for packing, painted black). Swing the skeleton over
the first few rows of the audience. Have assistant let
out a shriek at this time ... performer demands quiet,
all the time mumbling to himself about ghosts,
friendly spirits, etc.)
(For the finale, the ghost is brought on behind a
black cloth or covering, exposed by lowering the cloth
to the floor, which gives the appearance of a growing
ghost. It moves about the stage, and finally
disappears behind a cloth or shield ... lights up and
the show is over.)
—

Notes on Using Luminous Effects

All luminous effects must be placed under direct
rays of very strong light and exposed for several
minutes to get the best effect. The stage and theater
must be in TOTAL darkness, else the modus operandi
of your blackout effects will be exposed to the
audience.
Black uniforms or coverings for the assistants are
NOT necessary in total darkness, but it is best if the

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 T HE L ONDON M IDNIGHT G HOST S HOW

assistants at least wear soft slippers or moccasins to

enable them to walk silently.
(Luminous paint can be obtained online, and at
most paint, hardware, and crafts stores. It is
available in bottles and spray cans. Spray your items
with two to three light coats for best visibility.)
Size up the stage, approaches, etc., during the
time the lights are up, so you won’t stumble over
articles or fall when the lights are out.2
Here’s a good gag: have a stooge in the audience,
wearing luminous gloves. In the dark, he places the
hands over and around the lady seated in front of
him, and a near riot will take place.
Most ghost shows employ several stooges
(obtained locally) in the audience.

__________
2 Many hardware stores, as well as arts and crafts shops, sell

luminous tape, which is primarily used on stair steps and along the
edges of hallways and theater aisles, to prevent someone from losing
their way in the dark. You may want to employ a small piece of
luminous material on the back edges of your stage props (where the
audience can’t see it) so that the stage crew won’t trip over them.

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 T HE L ONDON M IDNIGHT G HOST S HOW

Closing Lecture
At the conclusion of the last ghost, up come the
stage lights and performer says, “My friends, that
concludes my performance this evening. I wish to
thank you for your fine spirit of cooperation and
interest. Peace be with you.”
(Bows, exit from stage, curtain.)

Booking and Exploitation

With the Original London Ghost Show produced
by the Nelson Enterprises, an elaborate lobby display
was carried. It consisted of an imitation (good quality)
tombstone, with the name Dillon on same, with the
date of birth and death. This was arranged with grass

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 T HE L ONDON M IDNIGHT G HOST S HOW

covering the mound, to represent a grave. It was

especially effective. Full strings of banners were used
on the theater front and marquee.
These are quite inexpensive and make an excellent
“flash.”
One-, two- and three-sheet blowups were used in
the lobby; also, enlarged photographs of the
performer with spirit faces hovering about him.
Especially made film trailers with sound carried the
message to the theater audiences one week in
advance, while the special four-page heralds were
distributed in the theater and about the city.
Newspaper advertising and stories were started
three days in advance. With such a campaign, it was
well billed and well received.
On the night of the show, a stooge was placed on
the streets, dressed in a white ghost suit, carrying a
card bearing this copy:
“I DARE you to attend the London Ghost Show at
the ____________ Theater, tonight at 12 o’clock
midnight.” The ghost started work about seven and
worked up to the opening hour. It was inexpensive
and very effective.
Booking the ghost show is an extremely easy
party, unless you run into a territory that has played
previous shows that were worthless, and then you
have a problem. The public, if not burned up by some
previous inferior show, readily respond to the ghost
show.
There is a peculiar psychology connected with
midnight ghost shows. The young people like to go,

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 T HE L ONDON M IDNIGHT G HOST S HOW

as it offers a late place of entertainment. The house

will have many drunks, though seldom do they prove
troublesome.
Theaters are willing to play good attractions of this
kind, because they know the show always does good
business. The ideal is usually 60/40: 60 percent to
the attraction, 40 percent to the theater. Or quite
often, a 50 percent spilt of the entire receipts: the
attraction furnishing the billings and heralds; the
theater, the newspaper advertising. Or, the entire
advertising bill is deducted from the gross, and the
balance divided equally.
Such shows, so operated, appeal to theater
managers. They have practically no expense (only
advertising and a few dollars in extra salary) and a
chance to do some business. However, theater
workers are not prone to ask for a lot of extra work,
so let the attraction handle the details, and thus
relieve the manager. This not only gets a quicker
contract, but the attraction manager knows if the
advertising gets out.
Get a letter of recommendation from every theater
you play. It helps greatly in future bookings. Build
scrapbooks with these letters, newspaper stories,
reviews, advertising, and everything pertaining to the
show. Present your show and plan to the theater
manager, explain that HE CAN’T LOSE, and if the
town has not been burned up by a previous rotten
show, your chances of a booking and business are
excellent.
Now go and get it!

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T HE L ONDON M IDNIGHT G HOST S HOW

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 T HE L ONDON M IDNIGHT G HOST S HOW

About the Author

Robert Alan “Bob” Nelson was
one of mentalism’s most
knowledgeable and prolific
authors. Via regular columns in
the Linking Ring and New Tops
magazines, Nelson kept his finger
on the pulse of the mentalist
community like no other.
In 1921, Robert and his brother
Larry founded Nelson Enterprises,
an emporium of tools and books
specializing in “mentalism and the
allied arts.” The company also catered
to mediums and psychics, offering
crystal balls, lodestones, and lucky
talismans.
Robert carried on as sole owner of
Nelson Enterprises after Larry left to
pursue a full-time stage career as
crystal gazer and mentalist “Alla
Rageh.”
Robert, too, toured with his own
mentalism and crystal gazing act,
as “Dr. Korda RaMayne.” Nelson’s
act played in theaters, at magic
conventions, and on radio and
television.
Nelson passed away at the age
of 71. He leaves behind a legacy of
outstanding books and effects for
use by forward-thinking mentalists
and psychic entertainers.

41
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