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.)

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.)

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.

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.

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.