By Oswald Williams
THERE are many methods of performing the Spirit Slates, but the effect, in most cases, is roughly the same.
Two school slates are shown and placed face to face. They are then either tied together or wrapped up and placed in a conspicuous position, or given to somebody to hold. The spir- its are then called upon to give the answer to some question of interest, or the answer to a sum, or what not. Mysterious passes are made over the slates, and upon separating them the answer is found to be written in chalk upon the inner side of one of them.
So much for the effect, which is good. In the methods used, however, there is generally some weak point. The slates will not bear examination, or they have to be wrapped up or laid on the table for no apparent reason, and in several cases removed from the view of the audience.
I therefore set myself the task of materialising a message between two slates upon the fol- lowing conditions:
The slates must be unprepared and given for examination. They must not be wrapped up.
They must not be laid down.
They must not be removed from sight. Only two slates must be used.
The following is the method which I decided upon:
You will require two well-made school slates of the same size, and what is known as a flap. This flap is a piece of thin, stiff cardboard. It is painted on both sides to match the actual slate, and is of such size that it will fit easily within the frame of either side of either slate and lie flush on the slate.
When in such position it should pass for the slate itself, and should, therefore, remain un- noticed.
On one side of this flap is written the message, or whatever it is wished to “materialise.” This should be written with flat oil paint, as if done with chalk it is likely that it will come off on to the clothing, or the slates, during the moves which take place.
The flap is placed, writing side downwards, into the top side of one of the slates, which we will call (A).
Upon slate (A) is placed the second slate, which we will call (B).
Put a piece of chalk and a large elastic band into a right-hand pocket, and all is ready. The magician advances holding the slates, in the position described, in his left hand. The slates should be parallel with the floor.
He takes slate (B) from the top and hands it for examination. On receiving it back he places it back on to slate (A) which is in his left hand, takes the chalk from his pocket with his right hand, and asks the gentleman who examined the slate for his initials. These initials (say “D.D.”) are written boldly on the slate (B).
The chalk is returned to the pocket and the slates turned over.
This will bring slate (A) to the top, and allow the flap to drop from slate (A) into slate (B). (Note that the writing side of the flap is now outwards on slate B.)
Slate (A) is at once taken from tho top and given for examination, the flap remaining in slate (B) with the writing exposed. In order that the writing may not be seen by the audi- ence, slate (B) is turned towards the body as slate (A) is slid off it. The flap is held in place by the thumb, and the slate held close against the body.
On receiving slate (A) back, it is placed on top of slate (B) by reversing the previous move, i.e. slate (A) is slid behind slate (B) from the top. At the same time both slates are tipped forward, bringing them parallel with the floor again with slate (A) on top.
The second examiner is now asked for his initials (say “O.W.”). The chalk is taken from pocket, the initials written on slate (A) and the chalk returned to pocket.
“Now,” says the magician, “these two slates have been examined. They have been found to be entirely above suspicion. In order that you may be certain that only these two slates are used in the experiment, they have been marked ”O.W." on this one, and “D.D.” on this." (As he says “O.W.” the magician points to these initials, and as he says “D.D.” he turns the slates over and points to “D.D.”)
This brings slate (B) to the top and allows the flap to drop, writing side down, into slate (A). (The position is now exactly as at the start of the experiment.)
“And,” continues the magician, “the insides are blank.” So saying, the magician takes slate (B) off and shows inner sides of both slates.
He then replaces slate (B), takes elastic band from pocket, and passes it around both slates. In doing this he gives the slates one more turn over, bringing {A) to the top, (B) to the bot- tom, and allowing the flap to fall, writing side up, into slate (B).
The slates are now placed in a conspicuous and isolated position, say on the top of a large tumbler or glass vase. The trick is done. It only remains to make some very mysterious passes, remove the elastic band, take off slate (A), and reveal the message on slate (B) to your long-suffering audience.
(Mr, Oswald Williams is an Englishman. He was born in London in 188O. He is the son of a Church of England clergyman, and the grandson of the late Mr. Walter Lacy, the one-time famous actor.
His original profession was that of an architect.
He sends me the following reminiscences of his “magical” career, as well as the excellent trick he has described above.—DAVID DEVANT.)