The handcuff act when exhibited with the proper mise en scène is certainly very mystifying and calculated to produce a profound impression on the minds of susceptible people. Taking the cue from the Davenport Brothers, Houdini might have advertised himself as a spirit medium, thereby creating a great sensation. But he preferred not to play the charlatan. I am not personally acquainted with his method of working the trick, therefore I express no opinion on the subject, except to say that the locks of the handcuffs are picked with a key of some {307} kind which is adroitly secreted about the person of the performer; or some soft piece of iron or copper wire which can be converted into a skeleton key. In the event of his being stripped naked (as often occurs in the case of Houdini) the key is probably hidden in the nose, ear, mouth, or bushy hair of the Handcuff King—or else slipped to him by a confederate, or concealed in a pocket in the drapery of the cabinet. I quote the following from the Strand Magazine (Sept., 1903):
“For a man fettered with handcuffs, leg-irons, and chains to free himself in less time than it has taken to fasten him has long been so mystifying a performance that many people have acquired the impression that it bordered on the supernatural. The secret is, however, like many of the best tricks ever invented, in reality a surprisingly simple one.
FIG. 1—THE PERFORMER FASTENED WITH SIX PAIRS OF HANDCUFFS.
“In the first place, it must be remembered that handcuffs such as are used by Scotland Yard are constructed with spring-locks, which are fastened or released by means of a key, or some article which answers the same purpose, which pulls back the spring. Without the aid of such a key it is impossible for any human being to free himself from the regulation handcuffs employed by the police. And herein lies the whole {308} secret—the performer has a key, or rather several keys. All his ingenuity is exercised in concealing these about his person, or inside the cabinet to which he retires to release himself after being, to all appearances, helplessly secured.
“Some of these keys are concealed in the framework of the cabinet, which is generally constructed of piping, having additional pieces which appear to be essential portions of the framework, but which in reality are only intended to hold the keys. Other keys the performer keeps disposed about his person in sundry small pockets especially made for the purpose, and so arranged that he is able to place his hand upon some one or other of them in whatever position he may be. The best places for concealment are—first, a pocket between the knees, to permit the key to be reached when the performer is fastened in a crouched position; secondly, a pocket about six inches up inside the leg of the trousers; thirdly, a key carried in the hip pocket of the trousers, for use when pinioned with the arms behind the back; and finally, a small pocket inside the top of the waistcoat, or wherever it may be found convenient.
| FIG. 2—THE HANDKERCHIEF AND KEY DRAWN FROM THE WAISTCOAT. | FIG. 3—UNLOCKING THE HANDCUFFS WITH THE KEY. |
{309}
“Let us now turn to the photographs, which have been especially taken for this article, and which render the whole proceeding very clear. In Fig. 1 the performer is fastened with six pairs of handcuffs. In such a position it seems impossible that he can free himself; but by putting his hands over his head and down his coat collar he has caught the end of a silk handkerchief thrust into the breast of his waistcoat, to which a key is attached. Fig. 2 shows the handkerchief and key drawn to the front; while Fig. 3 shows the key inserted in the lock.