Handcuff Secrets is a technical and autobiographical work by Harry Houdini, the celebrated escape artist and magician, written for professional performers, amateur magicians, and anyone interested in learning the methods behind handcuff escapes and lock manipulation. The book is presented as an exposé of the tricks and artifices used by so-called “Manacle Monarchs, Handcuff Kings, and Jail Breakers,” while also serving as an instructional manual for those who wish to perform such escapes themselves. Houdini explicitly states that the work is intended to reveal the methods of fraudulent imitators rather than to offend legitimate performers, and he positions himself as the “original Handcuff King of world-wide experience” whose authority derives from years of performing and observing the practices of others in the field.
“As the original Handcuff King of world-wide experience, I think I may be accepted as an authority, and I know for an absolute fact that it is so, having met such adventurous, would-be imitators in various parts of the world.”
The book is illustrated, with Houdini noting that most illustrations are from photographs. It draws on his extensive career across Europe and America, incorporating technical descriptions of handcuffs, lock-picking instruments, and escape methods alongside personal anecdotes, legal battles, and accounts of rival performers. The text is written in a direct, often combative tone, reflecting Houdini’s willingness to name and criticize those he considered frauds or incompetents. The work is addressed to a specialized audience of magicians and escape artists, though it also offers general readers insight into the world of professional escapology at the turn of the twentieth century.
The book reflects the period of Houdini’s greatest fame, when he was performing across Europe and establishing his reputation as the foremost escape artist of his generation. It captures a moment in the history of magic when handcuff escapes were a popular and competitive form of entertainment, and when the secrets of such performances were closely guarded. Houdini’s decision to publish this material represents a deliberate departure from the secrecy that typically surrounded professional magic, though he notes that he will not reveal his own deepest secrets but will instead show how his performances have been imitated and plagiarized by others.
Context
The book emerges from the world of professional magic and escape artistry in the early twentieth century, a period when handcuff escapes were a highly popular form of theatrical entertainment. Houdini had established himself as the leading exponent of this art, performing across Europe and America to record-breaking audiences. The book reflects the competitive and often acrimonious atmosphere of this world, where performers jealously guarded their methods and frequently challenged one another to public tests of skill.
Houdini’s career in Germany, which he describes in detail, was marked by both triumph and controversy. He arrived in Germany in September 1900 and opened at the Central Theatre in Dresden, breaking records, followed by a sensational engagement at the Wintergarten in Berlin. His success attracted the attention of German magicians and imitators who attempted to copy his act, and it also provoked hostility from some quarters, culminating in the Cologne lawsuit in which Houdini successfully sued the Cologne police for slander. This legal battle, which spanned three trials over the course of a year, became a significant episode in his career and is documented at length in the book.
The book also reflects the broader context of lock and handcuff manufacturing in the period. Houdini provides detailed information about the various types of handcuffs in use, noting that the British Isles had only seven or eight varieties while America had about 175 or more. He identifies the major manufacturers, including Hiatt of Birmingham, and discusses the history of handcuff design, from early ratchet cuffs invented around 1862 to the more complex double-lock mechanisms of his own time. This technical knowledge is presented as essential for any aspiring escape artist, and Houdini draws on his own experience working as a repair locksmith in Berlin to demonstrate his expertise.
The book also engages with the wider culture of crime and punishment, discussing the use of restraints in various countries, including Russian leg-irons used on murderers, Egyptian hand and leg-irons hundreds of years old, and the German transport chain used by police. Houdini’s accounts of criminals he encountered, including a German house-breaker who gave him a lock picker and a French murderer whose keys he obtained after execution, reflect his fascination with the intersection of locks, crime, and punishment.
Structure of the Book
The book is organized into a series of chapters that combine technical instruction with autobiographical narrative and exposés of fraudulent performers. The opening chapter, “Introductory,” establishes Houdini’s purpose and provides basic guidance for aspiring handcuff kings, emphasizing the importance of ambidexterity and the need to cultivate a pleasing stage manner. Subsequent chapters address specific types of handcuffs and methods of escape, including the English Regulation cuff, the Irish 8, and the Plug 8, each with detailed instructions for opening them.
The book includes a chapter on “A Fake or Spoof Manacle,” which exposes a cuff sold in England to amateur magicians that Houdini considers worthless, and reprints the manufacturer’s directions verbatim to demonstrate the deception involved. Another chapter on “American Manacles” provides a survey of American handcuff designs, including those made by Herman Ahrend, A. Rankin, and the Bean Giant Cuff, with notes on their history and methods of opening them. A chapter on the “French Letter Cuff” explains the method for opening letter-lock handcuffs by using spring pressure to detect the correct letters.
The book also covers lock-picking instruments in several chapters, including “Skeleton Keys,” “Lock Pickers,” and “The Safe-Opening Micrometer.” The latter reproduces a letter from James Sargent, inventor of time locks, describing his method for opening Victor combination locks using a micrometer or an instrument made from a common watch. This material is presented as practical instruction for those who wish to master the art of lock manipulation.
Interspersed with this technical material are chapters devoted to Houdini’s personal experiences and legal battles. A chapter on “The Cologne Police Sued for Libel” provides a detailed account of his year-long lawsuit against the Cologne police, including the text of the official apology he received. A chapter on “Historical Lock-Picking Contests with James” describes his encounters with rival performers, including the dramatic confrontation with Kleppini in Dortmund. The book also includes a chapter on “The Strait-Jacket Release” and a chapter on “Handcuffs, Keys, and Instructions Regarding Same,” which provides practical guidance for performers.
The book closes with material on handcuffs, keys, and instructions, drawing together the technical knowledge presented throughout and offering final guidance to performers. The overall structure moves from basic instruction to increasingly complex material, interweaving practical advice with autobiographical accounts and exposés of fraudulent practices.
Main Arguments
The central argument of the book is that handcuff escapes do not require exceptional talent but rather depend on knowledge, practice, and the mastery of specific techniques. Houdini states this explicitly in his introductory chapter, noting that becoming a handcuff king requires no exceptionally rare talent and that the primary lesson is learning to use both hands with equal facility. He emphasizes that style and manner of presentation matter more than the trick itself, and that the methods he describes can and have been used to imitate his performances with little practice.
A related argument concerns the prevalence of fraud and deception among self-styled handcuff kings. Houdini devotes considerable attention to exposing performers who issue lying challenges, imitate others feebly, make fictitious offers of money to anyone who can produce police regulation handcuffs they cannot escape from, and evade critical tests through fraud and lying. He describes how such performers operate, including their use of confederates planted among the audience and their refusal to allow skeptical spectators to join testing committees. He claims authority on this subject as the “original Handcuff King of world-wide experience” and states that he knows these practices for an absolute fact, having met such imitators worldwide.
The book also argues for the importance of technical knowledge and practice in mastering handcuff escapes. Houdini provides detailed instructions for opening various types of handcuffs, from the simple English Regulation cuff to the complex Plug 8 and French letter cuffs, and he emphasizes the need for persistent practice. He describes his own training regimen, including working as a repair locksmith in Berlin and practicing six to ten hours daily on police chain locks, and he presents this dedication as essential to his success.
Another argument concerns the legitimacy of Houdini’s own performances and the injustice of the accusations made against him. The account of the Cologne lawsuit serves to demonstrate that Houdini’s abilities were genuine and that his critics were motivated by malice or ignorance. He presents the verdicts of the German courts as vindication, and he includes the text of the official apology he received to document his triumph.
The book also argues that the secrets of handcuff escapes should be made available to those who wish to learn them, while distinguishing between legitimate performers and fraudulent imitators. Houdini states that he does not intend to offend legitimate performers but specifically targets those who engage in deception, and he positions his book as a reliable work on a subject that has previously been treated only in “vague, vapid, and unfinished” leaflets.
Key Concepts
The book introduces and explains several specific concepts and techniques central to the art of handcuff escapes. One of the most important is the “Plug 8” handcuff, a type of English cuff used in South Africa during the Boer War, reportedly on Kaffir diamond thieves. This cuff is distinguished by a small steel plug that is inserted into the circular keyhole after locking, and Houdini claims to have named it. The plug must be removed with a special key before the cuff can be opened, and Houdini provides detailed instructions for this process.
Another key concept is the “false finger,” a hollow metal finger used to conceal a duplicate key. Houdini describes this device as invented by an unrecorded “master brain” and explains how it can be used to escape from handcuffs in full view of the audience. The false finger is purchased from magical apparatus dealers and represents one of the standard tools of the handcuff performer.
The book also explains the “German transport chain,” a restraint used by German police for transporting prisoners. This chain has two rings, one at the end and one in the center, with one lock securing both hands. Houdini describes the method of escape, which involves bringing the arms akimbo and using sheer strength to extricate one hand at a time, with the teeth as an aid for the first hand.
The “safe-opening micrometer” is another important concept, described in a chapter reproducing a letter from James Sargent. This instrument, which can be made from a common watch by removing the mainspring and superfluous wheels, is used to detect the positions of combination wheels in locks. Sargent’s method involves attaching a lever to the knob that throws the bolt and using the micrometer to register the slightest movements of the fence as it comes into contact with the wheels.
The book also discusses “skeleton keys” and “master keys,” explaining how they can be used to open a series of locks with different keys. Houdini describes the principles of ward locks and how a skeleton key can be shaped to pass the wards, and he provides illustrations of various pickers and keys. He also describes the “multiple key” or universal lock picker, composed of two pieces of steel secured by a brass tube, which was originally the property of a criminal in Germany serving twenty years for house-breaking.
The “strait-jacket release” is another key concept, though the notes provide limited detail on this chapter. The book also covers various types of handcuffs, including the English Regulation, the Irish 8, the Bean Giant, the Boston Bean Prison Cuff, and the French letter cuff, each with specific methods for opening them.
Themes
A recurring theme in the book is the tension between genuine skill and fraudulent deception. Houdini repeatedly distinguishes between legitimate performers who possess real ability and the “Manacle Monarchs, Handcuff Kings, and Jail Breakers” who rely on tricks, confederates, and lying challenges to deceive the public. This theme reflects a broader concern with authenticity and integrity in the world of professional magic, and it positions Houdini as a defender of honest performance against those who would debase the art.
Another theme is the relationship between knowledge and power. Houdini’s detailed explanations of lock mechanisms and escape methods suggest that mastery of such knowledge confers a form of power over both physical restraints and the people who use them. This is evident in his accounts of escaping from police handcuffs in the courtroom, opening locks that were specially manufactured to be unopenable, and defeating rival performers who challenged him. The book presents this knowledge as something that can be acquired through study and practice, democratizing the art of escape.
The theme of personal vindication runs throughout the book, particularly in the accounts of the Cologne lawsuit and the confrontation with Kleppini. Houdini presents these episodes as triumphs over those who doubted or slandered him, and he uses them to demonstrate both his skill and his integrity. The inclusion of the official apology text, issued “In the Name of the Kaiser,” serves as documentary evidence of his vindication.
The book also explores the theme of international competition and national pride. Houdini’s accounts of his German career emphasize his success in a country where local performers tried to copy his act and where some sought to discredit him. The confrontation with Kleppini, who claimed that “it is us Germans who lead the world,” becomes a symbolic victory for American skill and ingenuity. Similarly, Houdini’s descriptions of handcuffs from various countries, including Russia, Egypt, and France, reflect a fascination with the ways different nations approach the problem of restraint.
A final theme concerns the ethics of revealing secrets. Houdini acknowledges that he is publishing material that has traditionally been kept secret, and he justifies this by distinguishing between legitimate performers and frauds. He presents his book as a service to the profession, providing reliable information where previously only “vague, vapid, and unfinished” leaflets existed. This theme reflects a broader tension in the world of magic between secrecy and openness, and it positions Houdini as a reformer who seeks to elevate the standards of the art.
The Author’s Conclusions
Houdini concludes that handcuff escapes are a skill that can be learned by anyone willing to devote the necessary time and practice to mastering the techniques. He emphasizes that the primary requirement is ambidexterity, the ability to use both hands with equal facility, and he describes his own practice regimen as evidence of the importance of dedication. He also concludes that style and manner of presentation are more important than the trick itself, and that a performer who appears bright and pleasing will be more successful than one who relies solely on technical skill.
The book concludes with practical guidance on handcuffs, keys, and instructions, drawing together the technical knowledge presented throughout. Houdini provides performers with the information they need to select and use handcuffs, to conceal keys and other instruments, and to perform escapes effectively. He also warns against the dangers of certain types of handcuffs, such as double-lock ratchets, which can be dangerous if the key breaks and the cuff must be cut off.
Houdini’s final message is one of confidence in his own abilities and methods. He presents his book as the definitive work on handcuff escapes, based on his extensive experience as the “original Handcuff King of world-wide experience.” He has demonstrated his skill through his performances, his legal victories, and his confrontations with rivals, and he offers his knowledge to those who wish to follow in his footsteps. The book ends with the practical details of handcuff selection and use, leaving the reader with the tools needed to begin mastering the art.
Significance
Handcuff Secrets occupies a unique place in the literature of magic and escapology. It is one of the few works of its kind to be written by a performer of Houdini’s stature, and it combines technical instruction with autobiographical narrative in a way that was unprecedented at the time of its publication. The book provides valuable insight into the world of professional escapology in the early twentieth century, documenting the types of handcuffs in use, the methods of escape, and the competitive and often contentious atmosphere of the profession.
The book is also significant for its documentation of Houdini’s German career and his legal battles with the Cologne police. The account of the lawsuit, which spanned three trials and resulted in a public apology issued “In the Name of the Kaiser,” is a remarkable episode in Houdini’s life and career, and it demonstrates his willingness to defend his reputation through legal means. The inclusion of the apology text provides documentary evidence of this victory.
For historians of magic and escapology, the book offers a detailed record of the techniques and instruments used by performers of the period. Houdini’s descriptions of handcuffs, lock-picking instruments, and escape methods are precise and technical, and they provide a valuable resource for understanding the state of the art at the turn of the twentieth century. The book also documents the practices of fraudulent performers, offering insight into the ways in which deception was practiced and exposed.
The book’s significance extends beyond the world of magic to broader questions of authenticity, skill, and integrity. Houdini’s insistence on distinguishing between genuine ability and fraudulent deception reflects a concern with honesty and transparency that resonates beyond the specific context of handcuff escapes. His willingness to reveal secrets that had traditionally been guarded reflects a reformist impulse that sought to elevate the standards of the profession.
Finally, the book is significant as a document of Houdini’s own self-presentation. Throughout the text, he positions himself as the authoritative expert, the “original Handcuff King of world-wide experience,” whose knowledge and skill are unmatched. The book serves as both an instructional manual and a testament to his own achievements, and it offers readers a glimpse into the mind of one of the most famous entertainers of the twentieth century.
Detailed Section-by-Section Summary
Preface
Houdini opens by stating his purpose: to expose the tricks and artifices used by so-called “Manacle Monarchs, Handcuff Kings, and Jail Breakers.” He is careful to say he does not intend to offend legitimate performers, but rather targets those who issue lying challenges, feebly imitate others, make fictitious offers of money to anyone who can produce police regulation handcuffs they cannot escape from, and evade critical tests through fraud and lying.
He describes how such performers operate. If a skeptical audience member sought to join a committee testing a Handcuff King, he would likely be refused unless he brought only common ordinary handcuffs. If he persisted, he would be forcibly ejected. Such performers only permit those with ordinary manacles on stage, plus confederates “planted” among the audience, supplied with handcuffs by the performer’s assistants.
Houdini acknowledges that confederates seem impossible given nightly performances with changing committees, but as the “original Handcuff King of world-wide experience,” he claims authority and says he knows this for an absolute fact, having met such imitators worldwide. He clarifies that giving a few pairs of handcuffs to audience members beforehand is admissible, since no one might bring any, and without cuffs present a performance cannot occur. However, his remarks about confederates concern cases where none are allowed on stage except confederates—this is the imposition.
He notes that no reliable work exists exclusively on this subject. Existing leaflets are “vague, vapid, and unfinished.” The book is written for professionals, amateur magicians, and those wishing to entertain friends with escapes and handcuff tricks. He explains he will not delve into his own deepest secrets but will show how his performances have been imitated and plagiarized by self-styled Manacle Kings. Illustrations are mostly from photographs.
Chapter I: Introductory
Houdini writes that becoming a handcuff king requires no exceptionally rare talent. The primary lesson is learning to use both hands with equal facility—”one hand releases or unlocks the other.” He practiced using his left hand persistently at table until it worked almost as easily as his right.
He advises addressing audiences without bombast, speaking as to critical friends, and never displaying irritability—always appearing bright and pleasing. He notes some tricks are simple but emphasizes that style and manner of presentation matter more than the trick itself. He does not claim these methods are precisely his own, but asserts they can and have been used to imitate his performances with little practice.
Houdini states that in the British Isles only seven or eight varieties of handcuffs exist, while America has about 175 or more, and the Continent adds padlocks. The novice should start with easy tricks. The easiest cuff is the ENGLISH REGULATION, for which one obtains duplicate keys. All these cuffs have spring locks, opened by screwing the key in, closing with a snap on pressure. The exception is “Plug 8,” discussed later.
For performance, one must conceal a duplicate key in a pocket, shoe, or cabinet drapery. Since audience handcuffs may be unavailable, one should have cuffs “planted” with confederates. The performer examines irons to ensure they are regulation pattern, allows the committee to lock them on, enters a cabinet, unlocks with the duplicate key, and conceals it again. For larger cuffs, one slips a hand out first.
The “Irish 8” resembles Plug 8 but has no screw or plug, locking with a snap like the English Regulation; it is used by the Royal Irish Constabulary. It opens differently—one may need a slender wrist to reach the keyhole, or place the key in the mouth, with the handle rubber-covered to protect teeth. The best way to have the cuff locked is with the keyhole upwards.
Houdini describes the hollow false finger, invented by an unrecorded “master brain,” used to produce or vanish a silk handkerchief. With it, one can be handcuffed with sleeves turned up, place hands in a small bag, and escape in full view, producing opened cuffs from the bag. The false finger, made of metal and purchased from magical apparatus dealers, conceals the second key.
He recounts an amateur who concealed his “handcuff opener” despite being searched. The amateur would have a friend turn his back while he stripped nude “a la Houdini,” then attach a small pin soldered in hook shape onto the friend’s coat. After being searched and handcuffed, the friend would turn around again, bringing the “gag” back to the amateur. Houdini tried this once, but when told to “turn about,” he turned so quickly the key flew off and fell to the floor.
Chapter II: Opening Sealed Handcuffs
For sealed handcuffs, Houdini recommends using a rather large pair so hands can slip out. One can open them by striking the cuff sharply with the keyhole downwards—striking where hinge and keyhole meet against a shoe heel or floor, causing it to spring open. He once used a lead plate fastened to drawers at the leg above the knee, sewn in to prevent slipping, bent to leg shape and unseen; he struck the cuff against this plate, though the method was uncertain.
He mentions a handcuff king who served eight years in prison and claims to open cuffs by striking them on an anvil. He has opened several pairs this way, but once missed and struck the anvil with his fist, nearly breaking it.
For one’s own cuff, a trick cuff can be made from the Irish figure 8 design: remove the spring and substitute a device that allows the cuff to be opened by pressure at a certain point, while still appearing to lock normally.
The Plug 8 Handcuff
The passage continues with a description of a handcuff with a metal plug that screws into the keyhole to prevent key insertion when locked. This cuff differs from the “Irish 8” because it has no spring and does not lock with a snap. Instead of an ordinary spring, it uses a screw, so it cannot be pulled open—it must be unscrewed after removing the plug at the keyhole. The plug’s head contains two small keyholes; the fork end of the key fits into these holes, and twisting the key from right to left removes the plug.
Chapter II: Blunders of “Handcuff Exposers” and Foreign Fights
Houdini presents the “Plug 8 Handcuff,” an extraordinarily broad cuff used in South Africa during the Boer War, reportedly on Kaffir diamond thieves. He notes that regardless of how heavy a manacle is, the locking arrangement is generally the same. This cuff is made by Hiatt of Birmingham, Froggott of Boardsley, and the former handcuff maker Fields. Houdini observes that almost all English cuffs are made in Birmingham or its vicinity.
When open, the cuff resembles a double W; when closed, it resembles the figure eight. After locking, a small steel plug is inserted into the circular keyhole, and from this plug Houdini named the cuff “Plug 8.” He claims to have named every cuff in the world today, and that imitators have taken his “Tales” and names without understanding why cuffs are so called.
The key has two teeth at one end, used to unscrew the steel plug. After removal, the other end of the key unlocks the cuff by turning in various directions. Some cuffs are “female cuffs” turning left to right; others are Regulation right-to-left unlocking cuffs. Making a master key is easy since all work on the same principle.
Herr H. F. C. Suhr’s Pamphlet
A “would-be author” in Germany, residing in Altona, said to be a magician who wrote pamphlets on magic, attempted to explain Houdini’s handcuff secrets. Houdini criticizes the pamphlet’s quality, calling Suhr “the limit” in bad explanations, surpassed only by an Englishman selling a monthly catalogue presented as a monthly paper.
Suhr’s pamphlet, “Magische Tandeleien,” stumbles in “Egyptian Darkness.” Suhr claims Houdini, “the American Handcuff King,” does not merit his sensation; his work is “simplicity itself,” merely warmed-up old soup with boastful American bluff advertising. Suhr claims Houdini could not get more work, had contracts cancelled, and had to sneak from Germany back to England.
Houdini’s Response and German Career
Houdini calls Suhr’s statement a deliberate malicious misstatement or blissful ignorance. He arrived in Germany September 1900, opened at the Central Theatre, Dresden, breaking records; opened at the Wintergarten, Berlin, in October, causing such sensation that management paid the Roanachers Establishment in Vienna a full month’s salary to prolong his engagement. He left for England for three months, returned to Germany for almost two solid seasons, broke records in 99 percent of cities visited. In Essen Ruhr, Manager Schultz had front doors torn down to enlarge the Colosseum’s capacity. With “Corty Althoff,” his drawing powers filled banks with marks; Althoff’s horses were condemned in Gelsenkirchen, leaving only three horses, and a circus without horses is no circus in Germany. Houdini played return dates at increased salary in Dresden, Berlin, Hamburg, Leipzig, Frankfort-on-Main, Magdeburg, Dortmund, Bochum, Osnabruck, Cologne, Mannheim, etc.
German magicians tried copying his act, all using one cuff and two keys—the method Suhr describes. The “Conjurers’ Monthly Magazine” September issue explains their method. Suhr later illustrated the “Tower Double Lock Ratchet Cuff,” calling it a “Chinese handcuff.”
Suhr’s Apology Letter
A footnote includes a letter from Altona (Elbe), Germany, June 15, 1908, wherein Suhr retracts his derogatory statements, written from hearsay, as he neither knew Houdini nor his work.
Hilmar and Carl Willmann
Hilmar, a German “handcuffer,” performed at the Wintergarten, Berlin, claiming abilities no American could match. Houdini placed common German cuffs on him, and Hilmar cried real tears for release. Herr Carl Willmann challenged Houdini through “Zauberwelt,” offering 40,000 marks against Houdini’s 20,000 for escape from a Ratchet-type cuff. Houdini, in England at the London Alhambra, wired he was coming; Willmann claimed a time limit had passed. Houdini offered £100 ($500) if Willmann could produce his “Moneyed-man” again; Willmann refused.
Houdini later visited Willmann’s establishment, was received by son John, who challenged him to unlock the shop’s front door. John locked it; Houdini entered within two minutes. Houdini noted the safe’s make and offered to open it, but John declined until “father was in.”
Cologne Lawsuit
In Cologne on the Rhine, Houdini had a year-long lawsuit against police, winning a public apology “by Command of Kaiser Wilhelm” for claims he misrepresented himself.
Continuation of Fake Handcuff Methods
The passage opens with advice that one may allow anyone to bring locks to a performance, then escape by using pliers to unscrew the bolt and close it again. A large cross or gallows can be built, with chains run through a staple or prepared place for locks.
Houdini describes a collar he invented years ago when compelled to give two or three performances, which fooled the best magicians in the world. Made of light metal, the fake part could not be moved by fingers or instruments. The secret lay in the hinge: a steel pin placed in a hollow rivet could only be moved by a strong horseshoe magnet, which pulled it up to allow the hinge to open. Houdini recommends this method for making “fake” handcuffs or a “spirit collar.”
Chapter IV: A Fake or Spoof Manacle
Houdini discusses a cuff sold in England only to amateur magicians for 25 shillings ($6), which he considers worthless. He calls it “absolute rot” despite claims it is “the greatest and most wonderful cuff ever invented.” The cuff cannot be opened with a key; the illustrated instrument only forces a screw into the lock proper. The seller offers £1000 ($5000) to anyone who can escape, but Houdini notes the seller forgets to say where the money comes from. The lock is in the center; what appears to be the keyhole is only a screw stop.
To open this cuff, one uses a long needle, pin, or steel knitting needle inserted into the concealed lock, releasing it. The pin hole must face toward the fingers; if toward the body, escape is supposedly impossible.
Reprinted Manufacturer’s Directions
Houdini reprints the directions sold with this cuff verbatim. The secret lies in the faked handcuffs supplied. The performer exhibits the cuffs, allows a gentleman to try them on (without locking), then places them on his own wrists. A small hole in a groove on one side must face the audience. The audience places the key in the keyhole and turns it twice left while pressing the cuffs together, locking them. Tape is bound over the keyhole with sealing wax. In the cabinet, the performer retrieves a concealed fake from boot or trouser pocket, inserts the steel pin into the hole, presses the cuffs between knees, and opens them. The performer resets by turning the key twice right, allowing cuffs to close within one-sixteenth inch without locking. Caution: never turn the key right when locked, as this strains the lock.
Kleppini
In Germany, a man called Kleppini resembles the Cherry Sisters—so bad they drew crowds. Kleppini wears a shirt-front full of medals, a large stage “diamond” star on red ribbon, and a collar reading “The Champion of all Champions of Handcuff Kings.” In Dortmund he had four medals pinned behind his back. His trick: allowing audiences to hang their own locks on his Chinese manacles—actually common hand and foot irons. His secret: replacing the original rivet with a new one using cutting pliers. If someone brought handcuffs, he deferred them to the second part, then dismissed the committee, fooling them.
Captain E. D. Bean
Houdini introduces Capt. E. D. Bean, inventor of police restraints, who died December 13, 1908. Bean invented almost every police equipment in general use, including the Bean Giant Cuff, offering $500 to anyone who could escape with a key. After Houdini collected the reward, it was reduced to $50. Bean was born in Hollis, Maine, July 29, 1838; gained rank during the Civil War (1861-5); served on police over ten years.
Thumb Cuffs and Thumb-Screws
The lightest restraint is the thumb cuff. Mr. P. C. Holland, Chicago criminalogist and editor of “The Detective,” reports the thumb cuff was invented sixteen years ago; the inventor died returning from Washington after patenting it. Thumb-screws were used at the Spanish Inquisition and French Bastille; smaller locks open with a common lock-pick.
Chapter V: American Manacles
Houdini illustrates American manacles: Herman Ahrend’s handcuffs (April 27, 1880, made in Newark) with A. Rankin Philadelphia leg-irons. Ratchet cuffs include Tower and Lyon Double Lock, Cobb 1900 Cuff, and Pinkerton Detective Cuff (which Pinkerton never had anything to do with). Early ratchets invented about 1862 by William V. Adams. W. Kimball’s Handcuff (1860) never sold. A. Delestatius brought out a cuff in 1861; Rankin patented his in 1862.
Most ratchet cuffs open with a steel strip 3½ inches long, ¼ inch wide, with a knob. Double-lock ratchets are dangerous—if the key breaks, the cuff must be cut off. A master key opens almost all double-lock ratchets. Bean cuffs include Boston Bean Prison Cuff, Bean Giant, and Bean Prison Leg-iron. Houdini escaped the Boston Cuff in under ten minutes. The Bean Giant requires an extension key; it is used by fraudulent spirit mediums.
Other cuffs: American Army (two keys), American Prison Adjustable Leg-irons (double-locked), the “Guiteau” (Rankin & Co., Philadelphia) used on Guiteau, murderer of President Garfield. The “Bounty Jumper” cuffs were used during the Civil War.
Continental Handcuffs and Restraints
The passage continues with a description of various Continental (European) restraint devices. Item (L) is the French Cuff with letter lock. Item (M) describes Russian Leg-irons used on murderers—these are not locked but riveted onto the culprit’s ankles. A heart device in the center denotes a life prisoner. Russia has no capital punishment; murderers receive life sentences in Siberian mines. Different crimes are designated by devices on the chain’s center: a spade, club, or diamond. Prisoners are riveted to coal cars in the mines and never separated until death; they sleep alongside the tracks on which the coal cars run.
Item (N) is the Egyptian Hand and Leg-iron, hundreds of years old. When made, locks were scarce and expensive in Egypt, so the smith made these to lock with a wedge. Item (O) is the latest Russian Manacle of 1902, described as one of the most complicated locks ever used in a handcuff.
The German Transport Chain
The German police use this chain almost exclusively for transporting prisoners. It has two rings—one at the end of the chain, one in the center—with one lock securing both hands. The chain entwines both wrists, which rest one above the other. To escape: bring arms akimbo, causing one hand to lay lengthwise on the other with fingers pointing toward the elbows, then by sheer strength extricate one hand at a time. The first hand is pulled out using teeth as an aid; the second hand is freed with the aid of the first.
French Letter Cuff Opening Method
To open the French letter lock, insert a strong spring between the two ends of the cuff at points BB, keeping both ends under tension, and gradually move the letters until hearing a slight click. Continue until all letters forming the word or cipher are found; the lock then opens automatically by spring pressure. Finer workmanship makes the lock harder to open, but Houdini states he has never failed to open any with five or six letters.
The Kleppini Incident
Houdini recalls an eccentric handcuff performer named Kleppini who interrupted his engagement with Circus Corty Althoff in June 1902. While touring Holland, a friend sent Houdini a bill and newspaper clipping announcing Kleppini would appear at Circus Sidoli in Dortmund, Germany, claiming he had defeated Houdini at his own game—that Houdini had handcuffed him only to see him escape, while Kleppini had defeated Houdini when handcuffing him.
Houdini argued with Herr Director Althoff, who refused at first to let him pursue Kleppini. Houdini threatened to quit; Althoff granted five days’ leave. Houdini went to Essen, where he had friends, had a barber glue on a false moustache and fix his hair to look like an old man, then went to Dortmund with a grip of “handcuff-king-defeaters.”
At the circus, Kleppini made his speech claiming victory over Houdini. Houdini cried “Nicht wahr” (“Not true”), took a flying leap of twenty-two feet into the ring, and revealed himself: “I am Houdini!” He offered 5000 marks if Kleppini would let him be handcuffed, and offered to escape from Kleppini’s Chinese pillory. Kleppini tried to evade; Herr Director Sidoli refused to back Kleppini, and the audience left disgusted.
On June 18, Herr Reutter, the circus business manager, proposed a duel; Houdini refused but agreed to handcuff Kleppini if challenged. Houdini waited in his room. On June 19, bills announced Houdini would appear. Kleppini sent for Houdini, who refused; Kleppini called at the hotel; Houdini would not receive him. Reutter asked what cuffs Houdini would use; Houdini pointed to twelve cuffs. Kleppini chose French letter cuffs. Reutter asked what word opened them; Houdini, perceiving the trick, said “Clefs” (keys) and showed him how to work them, securing a promise Reutter wouldn’t tell Kleppini. Reutter took the cuffs for four hours—Houdini knew Kleppini was familiarizing himself with them.
That night, Kleppini challenged Houdini, who entered the ring. Kleppini chose the French letter cuffs and went into his cabinet for about three minutes. Houdini told the audience the cuffs were open. Kleppini emerged waving them, crying “I will open these cuffs… it is us Germans who lead the world.” Houdini locked them on him; Kleppini entered his cabinet at nine o’clock. At 9:30 he wasn’t ready; at 11 the audience had mostly gone. Director Sidoli had servants throw the cabinet over; Kleppini ran to the manager’s dressing-room. At midnight Houdini stood guard; Madame Kleppini joined her husband. Around one o’clock, Kleppini begged Houdini to release him; Houdini refused without witnesses. They summoned Sidoli, Reutter, and a reporter. Kleppini said the word was “Clefs.” Houdini laughed: the word was “fraud.” He turned the letters to spell “fraud” and freed him.
The locks were changeable; Houdini had changed the word while locking them on Kleppini. The next day Kleppini circulated bills claiming he had defeated Houdini and escaped from his cuffs, but the truth of the night’s humiliation was known to all who had witnessed it.
The Instruments for Opening “Plug 8” Handcuffs
The passage opens with a precise technical description of the tools Houdini used to defeat the “Plug 8” English handcuffs. The first instrument was designed for situations where the prisoner’s hands were fastened in front of the body. Its operation required the user to place the device in the mouth, gripping a wooden wheel (A) between the teeth. A specific part (H) was then inserted into two small holes drilled into the top of the plug. By manipulating the tongue, the user could turn a cog-wheel (B), which in turn caused a brass rod (C) to revolve inside a cylinder (D). This rotation was transferred to cog-wheels (E) at the rod’s end, which then revolved the part (H) fastened on another rod (G) inside the cylinder, thereby turning the plug in any desired direction to release the lock.
A second, more challenging instrument was necessary when the handcuffs were locked behind the back. With only one hand available for the task, the user had to guide the two points on the instrument’s end into the holes on the plug. The technique involved holding the index finger at a stationary point (A) for leverage while the thumb turned a side wheel (C). This side wheel was fastened to a cylinder (B), and its rotation caused the end points to revolve, successfully removing the plug and freeing the hand.
The Safe-Opening Micrometer
This chapter is built around a reproduced letter from James Sargent, the inventor of time locks, detailing his method for opening the supposedly unpickable Victor combination locks. Sargent explained that he had previously failed to induce Joseph L. Hall and Co. of Cincinnati to submit their locks to a fair public test. His appeals to bankers in the North-west who used the locks were also in vain, as two city banks declined his challenge and county banks followed their lead. Emboldened by this, Hall and Co. boasted in the press that Sargent could not pick their lock. In response, Sargent decided to divulge the secret of how it could be done.
Sargent’s method relied on a “micrometer,” or an instrument he fashioned from a common watch. By removing the mainspring and superfluous wheels and attaching a short arm to the main wheel, he created a device where the slightest movement of this arm would cause the second hand to vibrate widely. To pick a lock, he secured the micrometer in an immovable position and attached a long lever to the knob or handle that throws the bolt. One end of this lever rested on the micrometer’s arm, creating a sensitive telegraph system.
In the accompanying diagram, the key components were labeled: 4 was the hub for the combination wheels, 3 was the combination wheels themselves, 2 was the bolt with the “fence” behind it, 5 was a cog-wheel connected to the outside knob, and 1 was the case. The picking process began by attaching the lever (6) to the knob and then a weight (7) to turn the handle as far as it would go, drawing the fence against the combination wheel. He then adjusted the micrometer (8) so the lever rested on its arm. This setup created a “perfect telegraph” from the wheel edges through the fence, cog-wheel, handle, lever, and micrometer to the second hand. As he turned the combination wheels, the surface inequalities would move the fence, which in turn turned the cog-wheel and moved the lever, a movement the micrometer would register. Hall’s locks could have up to twelve wheels, and no two wheels were exactly alike.
Assuming a dozen wheels of different diameters, the weight would draw the fence against the largest wheel. Sargent would then determine which wheel the fence rested against by turning each one. When he turned the slot in that particular wheel opposite the fence, the fence would be drawn into the slot, however slightly. This minuscule movement was multiplied by the lever and micrometer wheels, causing the indicating hand to vibrate. He would then read the number for that wheel and note it down. He proceeded wheel by wheel in order of diameter, keeping the ascertained slots toward the fence, until he knew all the numbers and could unlock the lock normally. The work did not need to be done in one sitting; the lever and micrometer could be removed without leaving a scratch. Octagonal or irregular wheels required no more skill. Sargent first used the micrometer in Philadelphia in 1860. He concluded his letter by offering to pick a Victor lock before a committee of bankers, citing his twelve years of experience, and predicted that every cracksman would soon use the micrometer as commonly as the jemmy and slungshot. The letter was signed “Respectfully yours, JAMES SARGENT,” from Rochester, N.Y.
Skeleton Keys
The text then turns to the subject of skeleton keys, noting that locks are hard to judge externally. In France, locks are extra secure, while in Germany some intricate-looking locks open with anything inserted. Some Bramah locks were clever imitations “made in Germany.” A skeleton or master key is one that opens a series of locks that each have different keys. In old locks with fixed wards, the wards were made slightly different so that a skeleton key could pass them all. The shape of the wards could be found by pressing a wax-covered blank key against them. It was unnecessary to cut the key in the complicated form shown in Fig. 1; only the edge B C farthest from the pipe A does any work, so a key shaped like Fig. 2 would work just as well. A small collection of skeleton keys sufficed for most purposes.
Illustration No. 3 showed an adjustable picker with bits secured by screws, while Illustration No. 4 showed simple pickers of different sizes used to lift tumblers. The four marked X were used in Houdini’s lawsuit at Cologne, where he picked hundreds of three and four lever locks after three months of daily practice. German transportation chain locks had a peculiar three or four lever pattern, and the post in the keyhole prohibited the use of strong picks, so Houdini made his pickers from piano wire. He worked as a repair locksmith for a Berlin locksmith named Mueller in Mittle Strasse, who was willing to have him work for nothing. Mueller ordered a great gross of police chain locks and exchanged them for other patterns. Houdini practiced six to ten hours daily, opening locks with five or six Chubb levers because the “gateways” were never made close. He used an elastic garter fastened to the padlock clasp and looped to his foot, providing a pull on the clasp when the levers were lifted. The German edition of this book omitted the illustrations of lock pickers on pages 65, 69, 70, 71, and 73.
The Cologne Lawsuit and Trials
Houdini engaged the best lawyer in Cologne, Herr Rechtsanwalt Dr. Schreiber of Louisenstrasse 17, and commenced a suit against the police. The first trial occurred in Cologne on February 19, 1902. Houdini charged that Schutzman Werner Graff had publicly slandered him. As an answer, Herr Graff told the judge and jury he was willing to prove Houdini was misrepresenting his abilities and that he could chain Houdini so he could not release himself. Houdini permitted himself to be chained by Herr Transport Police Lott and, in the presence of the judge and jury, released himself to show how easy it was. After a four days’ trial, Houdini won the lawsuit, and the Cologne police were fined and were to publicly apologize to him “In the Name of the Kaiser.”
Appeals and Higher Courts
Instead of apologizing, the police took the case to the higher court, the “Strafkammer.” At this trial, they had a specially manufactured lock made by Master Mechanic Kroch, which, when once locked, could not be opened, not even with the key. The police asked Houdini to show his ability to open this lock after it had been locked. Houdini accepted the challenge, walked into a room selected by the jury where he could work unhindered, and in four minutes re-entered the courtroom, handing the judges the prepared lock opened. He again won the lawsuit, and it was appealed again, this time to the highest court in Germany, the “Oberlandesgericht,” where the learned judges again gave him the verdict from which there was no appeal.
The Official Apology
The passage includes a free translation of the apology printed in German papers, beginning “IN THE NAME OF THE KING.” It states that the artiste known as HARRY HOUDINI, of America, New York City, sued the Cologne Police and Schutzman Werner Graff for slandering. The Royal Schéffengericht, the third ‘Ferienstrafkammer,’ found Werner Graff guilty of slandering Houdini, and the Oberlandesgericht also found that the Royal Schéffengericht was justified. Werner Graff was found guilty of “Openly Slandering” Houdini for being the chief instigator of an article inserted in the ‘Rheinische Zeitung,’ July 25, 1901, number edition 170, with headlines reading ‘Houdini, the world famous Handcuff Releaser.’ Graff was fined 30 marks, or a day in prison for every 5 marks if he failed to pay, and was also fined to pay all costs of the three trials. Houdini had the right to publish the verdict one time in the Cologne newspapers at Graff’s cost. The verdict was signed for Houdini by Rechtsanwalt Dr. Schreiber, K6ln, on Oct. 24, 1902.
Lock-Picking Implements and Anecdotes
Illustration No. 6 showed a set of lock pickers that fold into a handle like pocket knife blades, which Houdini used to open thousands of ward locks on doors in Germany. Illustration No. 7 represented a set of eight steel blades that also fold into a handle, useful for making keys or carrying keys compactly. Illustration No. 8 revealed three methods of using a “multiple key” or universal lock picker, composed of two pieces of steel secured by a brass tube (A). When the sliders were turned sideways they moved easily, but locked firmly when turned into the positions shown. This picker was originally the property of a criminal in Germany serving twenty years for house-breaking. Houdini was in Berlin at his trial and had interviews with him. The criminal’s concealment method was tying a silk thread round his neck with the key hanging down his back. After Houdini’s police performance, he was brought to this criminal, who gave him the lock picker and explained its concealment. Houdini handed it to the police, who allowed him to keep it.
Illustration No. 9 showed wire pieces, a combination pliers and wire cutter (C), and malleable steel wire (D) for making special lock pickers. Illustration No. 10 showed lock pickers for French locks. Houdini noted that France uses many expensive locks, like six-lever Chubbs or Bramah locks, so crooks force doors with chisels. The pickers marked xx and x were taken from a French murderer whose speciality was robbing churches. This man, Olschansky, planned to murder a Geld-brief trager in Berlin. He sent himself 100 marks through the mail and hired a room. When the postman arrived, Olschansky offered him beer without a glass, drove the bottle down his throat, and beat him to death. He forgot to pay the beer man, who noticed blood stains on his cuff. Olschansky paid with a 20-mark gold piece, which was his undoing. The beer man reported him, and Olschansky was found due to police registration. Houdini spoke to him at the Police Presidium and later obtained the keys after his execution. Illustration No. 11 showed master keys for the English rimlock, noting that before 1778, when Baron invented the tumbler lock, most English locks were “jokes.” Illustration No. 12 showed master keys for an American lock used in Great Britain, and Illustration No. 13 showed master keys for common ward locks.
