A Magician Among the Spirits

by Harry Houdini

A remarkably large number of methods have been used at one time and another by the numerous mediums of lesser repute than Slade who prospered on slate writing. Slade himself, like any skilled prestidigitator, had a variety of ways which he used to produce his effects. His usual method was very simple. A common kitchen table with the leaves extended was used, the Doctor being seated at the end and the client on the side against the leaf, at the Doctor’s right.

After the slate had been thoroughly washed on both sides he placed it under the leaf at the left of the sitter, holding it in position with the fingers of his right hand, with his thumb above the table. The sitter was requested to hold the left end of the slate with one hand and with the other to grasp the Doctor’s left hand near the center of the table. In such a position it was impossible for the sitter to see the slate or the fingers of the medium.

On the forefinger of his right hand Slade had a sort of thimble or ring to which was attached a bit of slate pencil. With this he wrote a short message on the bottom side of the slate, the scratching of the pencil being quite audible to the sitter. When this scratching ceased the Doctor would be seized with a series of nervous spasms during which the slate was snatched from the sitter’s hand for the fraction of a second and, unknown to him, turned over, thus bringing the message to the top so that when a few minutes later it was shown the message appeared as though written between the slate and the table leaf.

A second method, which produced longer messages, was the substitution of slates. If this message was of a general character the slate was switched for one bearing a previously written message concealed about a nearby piece of furniture. If a special message was required it was written by an assistant listening in the next room. When the slate had been cleaned ready for the message the Doctor gave the cue and the assistant rapped on the door. The Doctor answered the knock in person, taking the slate with him, and while listening to some commonplace report the slates were exchanged. On resuming his seat the slate was placed under the table leaf as before. No sound of writing being heard, he would examine the top of the slate several times but of course find no writing. Finally, claiming that the influence did not seem powerful enough, he would lay the slate on the top of the table, message side down with a piece of pencil under it, and then take both the hands of the sitter in his. Soon a sound of writing would be heard and on examination the message would be found. It was possible for Slade to produce the sound of writing while his hands were holding those of his client by slipping a piece of pencil through threads on the side of his knee and rubbing it against another piece held to the table leg by a wooden clip.

One of the most common methods of slate writing is known as the “flap slate.” The message is written beforehand and concealed with a flap of silicated gauze, or thin slate, which fits closely within the slate frame. One side of this flap is covered with cloth to match that used on the top of the table and when it is dropped is unnoticed. A better way is to cover the back of the flap with newspaper and by dropping it on a newspaper it becomes invisible.

There is an ingenious double form of this flap slate with which it is possible to make a message appear on both inside surfaces of a pair of locked slates without having them leave the sight of the sitter for an instant. The two slates are hinged together like the old-fashioned school slates but with the hinges on the outside of the slates. The slabs of slate are very thin and the ends of the frames bevel toward them slightly. One end of each frame is so made that by pressing on one of the hinge screws the frame end is released and can be drawn out about a quarter of an inch. A very thin slab of slate called the “flap” is arranged to fit snugly over the real slate when the frame ends are in place but drops out as soon as they are released and drawn out. In working these slates the medium writes a message on the inside of one of them, say the left, and also on one side of the flap. The end of the slate with the message is then drawn out and the flap inserted, message side down, and the frame fastened back in place. A secret mark on the outside of the frame shows which slate is written upon. The slates can then be shown and will appear clean on all four sides, and it is possible to either seal or lock them without interfering with the success of the demonstration. They are then placed on the table with the fake ends nearest the medium and while he leans on their ends with half-folded arms, engaging the sitter in conversation, he at the same time with the fingers of his concealed hand pulls out the frame ends, allowing the flap to fall from one slate to the other, and then secures it in place by putting the ends back. Of course when the slates are opened a closely written message is found on both.

Another sort of double slate intended for producing a similar effect in dark seances or cabinet work also has a loose end which instead of moving a quarter of an inch draws out to any length, bringing the slab with it. After the lights are out or the cabinet closed it is an easy matter to draw out the slab and write a message on it.

WRITING ON “HONEST SLATES” BY MEANS OF WEDGE AND WIRE.

Writing is sometimes produced between two perfectly honest slates which have been fastened together at the corners by inserting a wedge of hard wood between the frames, thus separating them enough to slip between them a piece of wire with a bit of slate pencil fastened to its tip. By this means a message can be produced at a dark seance in a few minutes without breaking the seals.