THE DOUBLE SLATE.
We now come to a slate called by the mediums “The double slate.”
It is, to all appearances, two ordinary slates hinged together at
one side and locked with a padlock, the shackle of which passes
through a hole in the sides of the frame of each slate. This slate
also contains the false flap or slate, but the slate or flap is
held firmly in each frame as follows: The inside edges of both
ends of each frame of the slates are beveled inward a trifle. One
of these ends of each slate frame is also made to slide or pull
out about one-quarter of an inch. These are prevented from sliding
until wanted by the medium by a catch in the framework, which is
connected with a screw in one of the hinges. This screw stands a
little higher than the rest, so as to be easily found. The hinges
are on the outside of the frame instead of inside. By pressing
this screw it undoes the catch, which allows the ends to be moved
a trifle. The false flap is just large enough to fill in the space
under the bevels of the frame, and if, in the top frame, the catch
is released and the end moved, the flap will drop into the bottom
slate, where it is held tight and firm by releasing the catch in
that frame, moving the end until the flap settles into its place
and then sending the end back into its original place again. The
writing is placed beforehand on one side of the flap and on one
slate, both the written sides face to face, and after the flap has
changed slates it presents two slates with written sides.
There is still another double slate used with hinges and padlock.
(Fig. 12.)
[Illustration: Fig. 12.--The Sliding Trick Slates.]
One of the ends of the wooden frame of one slate is fastened
securely to its slate, which is made to slide out completely from
the groove in the frame. This allows the insides of both slates to
be written upon. After that is done the slate is slid back into
its frame. Care should be taken, in sliding the piece back, not to
reverse it so as to bring the writing side out. The best way is not
to pull the slate completely out, and write upon the inside of the
stationary slate, and then reverse the slates, which will bring the
inside of the movable slate into view. Write on that and then close
the slate.
I have seen a medium use the double or folding slate and get rid of
the false flap in this way: He used a pair of small slates. These
he opened out with the flat side towards the audience, and while
in his hand, cleaned those two sides away from the table. He now
showed the reverse sides and cleaned them likewise. He now closed
the slates, but toward him, instead of away from him, holding them
close to his body, and as he does so, the false flap, by this
movement, slips easily and unperceived beneath his coat or vest.
I once witnessed a test which, for a time, completely nonplussed
me, but, after considerable study and experimenting, I solved it.
This is the effect of the test: A person was allowed to bring two
slates; he was to wash them himself and securely seal them in the
presence of the medium, the medium placing, before the slates were
sealed, a piece of chalk between them. The slates were sealed after
this fashion: Around the whole length and width of the slates court
plaster was stuck, and that was also sealed to the slates with
sealing wax, making it an utter impossibility to insert a piece
of wire, or like substance, between the slates. Nevertheless, the
slates were held under the table and presently removed, unsealed,
and writing in a very poor hand found upon the inner surface of one
of the slates. It could hardly be called writing, being hardly more
than a scrawl.
Now, how can this be accounted for? By one of the simplest
devices imaginable. The medium placed the piece of chalk between
the slates. This was composed of pulverized chalk, mixed with a
little water, glue and iron filings, and allowed to become hard.
The medium, while under cover of the table, traced with a magnet
below the slate the words found upon the inside, but backward, the
same as type is set for printing; if not, the writing on the slate
will be in reverse. The chalk, on account of the iron filings it
contains, follows the direction of the magnet. (Fig. 13.)
[Illustration: Fig. 13.--Magnetic Writing.]
We now come to another idea with two slates. Have two slates made
with fairly deep wooden frames, deep enough to hold the slate
proper and a false flap of slate. One made of silicate book-slate
stuff is preferable. Your apparatus consists now of two slates and
one false flap. The false flap is made to fit very tightly, so it
will not fall out of its own weight. The slates in the frame also
fit snugly. The frames are mortised out a little thicker than the
slate, say twice as thick. This allows the slate to work backward
and forward, from front to back, and _vice versa_. If the slate
is well pushed down and the flap placed on it, the flap will not
fall out, but if you press the slate on the back forward, it shoves
out the flap, and if it is covered with the other or second slate
during this operation, it is forced into the second slate, which
holds it firm and secure.
[Illustration: Fig. 14.--The Thimble Carrying False Key and Chalks.]
Another test, which was supposed to be convincing to skeptics, was
one in which a double slate was used; it was hinged and provided
with a lock in the wooden frame. The slates were examined, locked,
and the key given to the skeptic. The skeptic was allowed to select
from a number of pieces of colored chalk the color that he desired
the message to be written in. Upon the slates being unlocked and
opened, the writing is found in the color selected. While the
slates are being examined, the medium seizes a duplicate key which
fits the lock. (Fig. 14.) This key has a thimble attached to it
which fits the performer’s right thumb; also attached lengthwise to
the key are several small colored pencils or crayons of different
lengths. When the slate has been examined, it is placed under the
top of the table and held in position by the thumb of the right
hand, which is underneath, and the fingers above the table. During
this manipulation the thimble is placed on the thumb, and the
performer, with the key attached to it, opens the slate, using his
knee to assist or support the slate. One part of the slate opens
downward and rests on the knee, which holds it in position, i. e.,
at an incline, pressing it against the table top. On this part of
the slate the writing is now done with the colored crayon selected,
which are usually red, blue, green and white. When the color of
the crayon is selected the performer turns the thimble around,
bringing that color upward. Although not easy to execute, it is,
nevertheless, a most surprising and effective test.
The above test was used by a medium very successfully for years in
England and France, and was found out recently.
A test I once received was, I thought, quite clever. I was asked to
write a question on a piece of paper furnished by myself and place
it between two slates without the wooden frames. The medium said I
would in a short time receive an answer. He then opened the slates,
stating the answer must be there, but none was found. He remarked
that perhaps we did not give the spirits time enough. So he
replaced the slates together with the paper containing the question
between. Again, on taking the slates apart, they were devoid of
writing, but, strange to say, the answer in what looked like lead
pencil was found on the paper containing the question. When the
slates were removed the first time, the medium got a glimpse of
the question on the piece of paper and then gave me one slate to
examine, and apparently was looking at the other one himself. What
he really was doing was this: On the side of the slate toward him
he was writing a brief answer to my question with a pencil composed
of mutton tallow and lampblack pressed very hard. This pencil was
attached to his thumb. He held the slate at the ends with both
hands, thumbs behind and fingers in front, the writing being done
backward. When the slates were replaced the writing, being black,
was not seen against the black slate, and was placed immediately
over the paper and the writing transferred to it. This is the
reason the slates were used without the wooden frame, because with
the frame the two slates would not come close together to press
hard enough to transfer the answer.
A test, using a half dozen or so of slates, is as follows: Two
slates are cleaned and examined and given to be held together by
a skeptic, and the other slates cleaned on both sides and placed
on the table. The medium now takes the two slates apart, but no
writing is found; one slate is given to the skeptic and the other
is placed on the table by the medium, who picks up another slate
and places that with the one held by the unbeliever. After a short
time the slates are again removed by the medium and no writing is
found. As if in despair, the medium takes one slate away, placing
it on the table, picks up another, showing both sides, places it
with the one in the spectator’s hand, and in a little while the
skeptic himself separates the slates and writing is found on one of
them.
This method brings in use again the slate with a false flap. This
slate is among the others on the table. The two slates first given
to the individual to hold are all right when the medium takes one
slate away and places it on the table the first time and picks
up another slate to place it with the one held by the skeptic. It
is the flap slate, and this he places underneath the other slate
and asks the skeptic to hold them. When the medium again separates
the slates he turns them over, bringing the slate with the writing
uppermost and also allowing the flap to fall into the lower slate,
which is now taken away to be replaced by another taken from the
table. Care is taken not to show the underneath side of the upper
slate during this transaction. The slates the skeptic now holds are
devoid of trickery, and when exposed with the writing on will cause
wonderment.
[Illustration: Fig. 15.--Slate with False Hinges.]
There is still another style of slate made, and used to good
advantage. It is two slates hinged together, making a double slate.
It has also two holes in the frame opposite to the hinges, through
which tape or cord can be run and tied and sealed to the slates.
(Fig. 15.) The secret of getting the writing upon the inside lies
in the fact that at least one-half of each hinge is screwed to
the slate; the other half is made fast to a little projecting
piece in which there is a slight notch. These projections enter
corresponding holes in the other slate, in which is concealed a
spring bolt which engages these catches of the hinge. This bolt is
shoved back to release the catches by means of a pin pushed through
a hole in the end of the frame.