Chapter II: Part 2

"That's all right," said the irrepressible Houdini. "I've had him out and locked him up in No. 15." Hearty laughter followed the narration of this achievement, and the officials went to No. 15.

So securely had the Irishman been locked up that it was necessary to call upon Houdini to unfasten the door. The Irishman was found in a somewhat bewildered state, but he probably "sobered" quicker than he would have done in less eventful circumstances.

Houdini left the bridewell the proud possessor of the certificate which is reproduced at the head of this article.

ANOTHER EXPERIMENT

In the evening Houdini, accompanied by an Express representative, again walked into the bridewell to settle a point which had been raised since his feat in the afternoon.

Was the door which had been fastened against him single, double, or triple locked?

The matter could easily be settled. Houdini would just do the trick again. Only this time he would do it with his clothes on, as time was pressing.

Liverpool's bridewell is as an unsightly a place as a bridewell can be. No one would mistake it for a spa hotel or a convalescent home.

Beneath a dark arch you pass, and in the great door which you find opposite is a little window which is unlocked when you knock, and through which you are viewed before you are permitted even to stand upon the threshold.

Houdini and his companion were admitted.

"More lock-breaking?

"Yes; I am ready for more--as many as you like."

Accompanied by a gaoler, Houdini and the =Express= representative ascended a flight of stone steps and passed along dimly lighted corridors, whose atmosphere seemed to reek with crime and mystery.

Passing through a gate, a row of cells was reached, upon any one of which Houdini might operate.

Here was one marked with a strange device. Houdini would try this one.

It was a felon's cell--stronger than some of the others, though it could not have been darker or more forbidding.

Houdini entered. He was backed in by the =Express= representative. He was inside, safe and sound.

SECOND ESCAPE

There could be no doubt about that. At the first turn of the key the lock went forward twice; at the second, once. Houdini was behind a triple lock in the dark, dreary cell.

The =Express= representative and the gaoler left him there, and retired beyond an iron gate which bars the passage.

"The gate is a greater test than the cell," said the gaoler.

"It's locked before it's locked, if you understand. Shut it, and it's locked, and then you can lock it again."

The gaoler hand only secured it when Houdini presented himself.

"That's as quick as I've ever done it," said he. And then he tackled the gate.

A moment's hesitation. The gaoler shook his head, and a smile was just overspreading his features, when lo! Houdini flung open wide the gate.

He agreed that the gate was "tougher," as he expressed it, than the cell.

Houdini is an American. Only his strong arms and his supple, yet powerful hands give the slightest clue of his prison-breaking capacity.

He does not look a gaolbird, but the escape he made for the benefit of =Express= readers was his 61st.

Bright-eyed, smart, active, and a good talker, he has traveled far and wide, and has broken out of the prisons of many countries.

"I have never failed," said Houdini, "but I don't say there is no cell I cannot break out of. As to handcuffs, the hardest job I ever had was with a pair made at Krupp's. It took me 40 minutes to get out of them, but I did it."

=Hou'di-ni=, 1 hü'dï-nï]; 2 hu'dï-nï, =Harry= (4/6 1874- ). American mystericist, wizard, and expert in extrication and self-release.--=hou'di-nize=, _vt._ To release or extricate oneself from (confinement, bonds, or the like), as by wriggling out.

FROM FUNK & WAGNALL'S NEW (1920) DICTIONARY]

Houdini Outwits Fiji Islander Swimming Champion.

Houdini, the man of mystery, who is now appearing in our midst, is certainly a peculiar species of a human being. From all accounts, the energy, the work and feats of this man will, sometime in the future, be the finish of this now wonderful and famous performer.

The restless striving to do something better than another human being has brought him to the highest pinnacle of fame, has earned for him princely salaries, and when one considers the risks he has taken, no one can begrudge him the prime minister's salary, which he is earning.

To show the restless craving of this man for excelling in things where it is impossible to be of any value to him in any way or form, an incident regarding this man is well worth relating. He was returning from Australia, and the steamer, after leaving Brisbane touched Suva, on the Fiji Islands, a place infested with the most voracious man-eating sharks, known in the world's history. It is stated that they will not touch a black man, and perhaps, that is why the Fiji Islanders stand in no fear of being devoured by sharks, and whenever a shark enters the harbour, it is one of the sights of the country, same as it is in Colombo or Port Said. The Natives dive for coins that the passengers throw overboard. One big fellow seemed to be a most wonderful diver and would always come up with the coin in his mouth, pretending to the average spectator that he had cought the coin in his mouth.

Houdini, being an observant spectator, claimed that the man caught the coins in his hand, that is, picked the coin in the water with his hand and placed it in his mouth. This was disputed. Houdini, being offered to wager that if the man's hands were tied behind his back, which would not impede him in making his dive, that he could not catch the coin in his mouth, and Houdini agreed that he would allow himself to be handcuffed, with his hands behind his back, and that he would come up with the coin in his mouth.

An interpreter was called and the Black agreed to undergo the test. The dive was to be made off the steamer, and the Captain warned Houdini that he stood in grave danger of the sharks.

Undaunted, Houdini went below, donned a bathing suit, had a pair of regulation handcuffs locked behind his back; the Black had his hands tied behind him with a cord--he refused to have the handcuffs placed on him, and he said they were too heavy--two coins were thrown overboard, two splashes were simultaneously heard.

Quick as a tiger's spring the Fiji Islander, with his sleek, glossy body, hurled himself through the air and was beneath the surface of the water even while Houdini was perched for his spring. But the jumps were so quickly made, one after the other, that unless you saw the men as they entered the water, you would have thought that it was one prolonged splash. Thirty seconds passed; neither one of the two men appeared. One minute passed, and the black head of the Fiji Islander came up, almost livid for want of air. Fifteen seconds passed by, and, feet first, up came Houdini.

The Fiji Islander did not have his coin, and it seems that Houdini had gathered both of them and had them in his mouth.

He was drawn up with exciting hurry, for the fins of the sharks were seen moving about with rapidity, and, being hauled on deck, Houdini was declared to have won the wager.

The Black's hands were released, were cut apart, the handcuffs were unlocked from Houdini's wrists, and instead of keeping the money, Houdini made it a present to the Black.

In a private interview, on being asked how he defeated the Black, Houdini said with a good-natured smile, "You can pick up a coin in a glass tank with your hands tied behind your back, because you can use your mouth, teeth and tongue to manipulate the coin, but when you are in an ocean and the coin is falling downwards it is almost next to impossible to catch a coin and bring it up in your mouth."

"You ask me how I did it? I will let you in the secret--I didn't do it at all. When I was under the water I released one of my hands which gave me the use of both of them; I caught my coin and I noticed that the Black was unable to get his coin. I swam after him until he had given up trying to get it, and we had gone down to such a distance that my ears rang, my head was splitting, and all I could see was the white shining piece of money--it was an English two-shilling piece. Eventually I grabbed the coin, put it in my mouth and came up. As I came up, I happened to have my hands free and as I could not stop myself with the force I had sent myself up with my hands I turned around and came up feet first, and this allowed me to put my hands behind my back and the regulation handcuff, as you know, being a snap lock, I locked my hands together and to all intents and purposes my hands were locked during the entire feat. That is why I gave the Fiji Islander the entire amount at stake."

"Was I afraid of the sharks?"

"Yes and No! Being able to see under water, I kept a sharp look-out, and as soon as I would have seen anything that looked like a shark I would have done a record swim to the boat."

"No, I would not care to do it again; it was not for the money, it was simply to show that I was as good a swimmer as some of those Fiji Islanders."

* * * * *

HISTORICAL LOCK PICKERS.

It used to be the fashion among inventors to challenge the trade and other persons, to pick them.

In some cases, even rewards were offered to any one who could do so.

It is believed that Mr. Joseph Bramah was the first to do this and in 1801, he displayed in his shop window in Piccadily, London, a board to which was attached a padlock, manufactured by himself, and which bore the following inscription:--

"The artist who can make an instrument that will pick or open this lock shall receive 200 guineas the moment it is produced."

In 1832, a Wolverhampton locksmith, having claimed to having picked 18 Chubb locks, Mr. Chubb challenged him to open one of his locks under certain conditions.

Mr. Hart tried and failed, giving the explanation that it was not the regular commercial Chubb lock, but one that had a special bridge ward.

Mr. Chubb replied that Mr. Hart did not pick any lock, but made false keys by a process of cutting blanks.

In America the great lock of Dr. Andrews, in 1841, being heralded as an unpickable lock, with two sets of tumblers, was produced, the inventor offering 500 dollars to any one who could pick this.

It was picked by Pettitt and Hall, of Boston, with what is known as the smoke process.

=1851. HOBBS PICKS BRAMAH AND CHUBB LOCK.=

In 1851 Mr. A. C. Hobbs arrived from America, picked a Chubb lock before a committee, and picked the Bramah lock, winning thereby the 200 guineas that for 50 years no one was able to claim.

Mr. Hobbs offered 200 guineas to anyone who would pick his lock. An engineer named Garbutt, known as an expert, took up the challenge, and failed after trying thirty days.

=1855.--YALE PICKS HOBBS' LOCK.=

As an additional element to this controversy, in 1855, Linnius Yale, Jr., discovered how to pick the then celebrated Day and Newell Parautoptic Bank Lock.

It was of American origin, and was known in England as Hobbs Lock, but was the invention of a Mr. Pyle.

Yale also discovered that he could pick the best Bank Lock--the Double Treasury, which he himself had designed.

And eventually demonstrated that any lock having a key hole could be opened by any expert with the necessary skill and time at his disposal.

Accordingly Mr. Yale proceeded to develop the combination or Dial Lock.

=1870.--SARGENT PICKS YALE LOCK.=

The general use of this lock led to the controversy in the United States in 1870; and the Yale lock was picked by James Sargent, of the firm of Sargent and Greenleaf, a lock inventor, a leading maker of Bank Locks, and the inventor of the Time Lock.

1905.--HOUDINI PICKS SARGENT LOCK.

Houdini bearded the lion in his den by escaping from a Police Cell in Rochester, N. Y., which was securely locked with one of the Sargent and Greenleaf Locks, placing himself on record as one of the great lock pickers of the world.

Of the thousands of locks he has picked all over the world, the following police certificates places him among the historical lock pickers, in fact, second to none.

POLICE HEADQUARTERS, ROCHESTER, N. Y. U. S. OF AMERICA.

We, the undersigned, certify that we saw Harry Houdini,
the bearer of this note, stripped naked, searched, locked
in one of the cells at Police Headquarters, and handcuffed
with three pairs of cuffs, also strapped with a strap
extending from pair of cuffs and buckled at the back.

He removed the cuffs, unlocked the cell, got into an
adjoining cell and returned with his clothes on.

After unlocking the cell in which he was first placed, he
had to unlock the cell in which his clothing was left.

This was witnessed by the following persons, at Police
Headquarters, this city, December 4th, 1905.

J. C. HAYDEN, Chief of Police.

Mr. James Sargent personally complimented Houdini on his rare skill. They became friends and spent hours together exchanging lock opening secrets.

NOTE.--We beg to acknowledge our indebtedness to
the following publications for data used in this
article--Price's Book on "Locks and Keys" 1856; New
International Encycleopedia 2nd Edition; (Dodd Mead
and Co., New York); and Encycleopedia Americana, J. M.
Stoddart, 1886.

* * * * *

POLICE HEADQUARTERS, CHICAGO, ILL., U. S. OF AMERICA.

This is to certify that the undersigned saw Harry Houdini
stripped stark naked, searched from head to foot, and
shackled with handcuffs around the wrists and leg irons
around his ankles.

He was then placed in a cell which required TWO LARGE keys
of different makes and patterns to open the lock. The keys
are of such a nature that it would have been positively
impossible for him to have concealed them on his body.

We searched the cell and thoroughly searched Houdini from
head to foot, also between his toes and the soles of his
feet. Nevertheless in fifteen minutes he managed to release
himself from the manacles and make his escape from the cell.

There was positively no chance for outside assistance.

(Signed), ANDREW ROHAN,

Chief of Detectives. Nov. 24, 1906.

The Only Paper in the City that Dares Print the News

Los Angeles Record

21st Year. WED. DEC. 1, 1915. No. 6485

2,000 HISS J. WILLARD.

CHAMPION DRIVEN FROM THEATER BY HOOTS AND CALLS

Boxing has been given its worst black eye here to-day by none other than Jess Willard, heavy-weight champion who was so badly worsted to a wordy clash with Harry Houdini, a performer at the Orpheum Theater, last night, that the audience hissed him from the house.

Nearly 2,000 persons were present at the dramatic scene and seemed unanimous in groaning, hooting and booing Willard.

The trouble was precipitated by Willard's gruff refusal to comply with a friendly request made by Houdini that he act on a committee to watch the performer's act from the stage.

It was not known that Willard was present until Houdini came before the footlights and requested any "gentleman" in the audience to step on the stage and guard those present from any possible deception.

After about 10 men had stepped on the platform, Houdini stepped forward and said, smiling:

"Now I need three more gentlemen on this stage and there is a man here to-night who doesn't know I am aware of his presence. He will be enough for three ordinary gentlemen if he will serve on this committee."

"He is Jess Willard, our champion."

Taken by surprise, the audience was silent for a moment and then broke into tumultous hand-clapping. Cheers and shrieks resounding throughout the house.

Houdini looked up on the balcony, where Willard was seated, and said:

"I will leave it to the audience, Mr. Willard. You see they want to see you."

A fresh outburst occurred, even more violent than before.

"Aw, g'wan with your act," came Willard's rough reply as the audience stilled itself. "I paid for my seat here."

"But, Mr. Willard," expostulated Houdini, "I--

"Give me the same wages you pay those other fellows and I'll come down," rumbled Willard's deep voice.

The audience, scenting something unusual, was very quiet.

"Sir, I will gladly do so," returned Houdini, heatedly. "Come on down--I pay these men nothing."

"Aw' g'wan with the show," roared Willard, growling something that sounded like "four-flusher" and "faker."

Willard's boorish replies evidently displeased those present, for a few scattering hisses came about this time.

Houdini stepped to the footlights and held up his hand for silence.

It was readily granted.

"Jess Willard, I have just paid you a compliment," said Houdini dramatically. "Now I want to tell you something else.

"I will be Harry Houdini, Jess Willard, when you are NOT the heavyweight champion of the world."

A roar of applause shook the house. Men and women alike joined in the clapping and cheering.

A deep rumble from the balcony indicated that Willard was trying to make some retort, and the cheers veered suddenly to hoots and groans.

"I made a mistake," said Houdini, addressing the audience. "I asked GENTLEMEN to step on this stage and GENTLEMEN only."

A renewed outburst occurred, during which Willard evidently left the theater. He was not to be found after the next act had started.

THE PICTURE SHOW. Mar. 20th, 1920

Half-an-hour with Houdini,

THE EXPERT OF EXTRICATION

"Danger does not mean anything to me; I was just born without the ingredient of fear. Apart from the many risks I have taken in the course of my professional career, I have saved lives any number of times, and I have simply taken it all as a matter of course. People talk of being afraid to die; on the contrary, I am so well prepared for such an emergency that not only is my will drawn up, but I have a bronze memorial bust all ready, because I thought it better to have one that was really like me!"

THE HANDCUFF KING

Thus spoke Houdini, the "handcuff king," the great magician and genius of escape, on a certain sunny morning a few weeks ago. He sat with his back to the light, but though his face was in shadow the compelling blue grey eyes, and strong, bronzed features glowed with an intensity and vitality such as one rarely meets.

"Tell me," I begged, "are the feats you do on the screen different to those you do enact before the footlights?"

"Entirely different," was the reply.

"In fact, some of the biggest critics have said that I am more wonderful on the screen than on the stage. That, I consider, is one of the greatest compliments ever paid me. But it has taken years of training to produce the tricks, or problems, I do in my films."

Houdini has made, to date, three pictures. The first of these, "The Master Mystery," a serial, is now enjoying enormous popularity all over the country. The remaining two, "The Grim Game," and "Terror Island," are feature pictures, and are still unreleased by Paramount Artcraft though this year will see the first-named on our screens. In the making of "The Master Mystery," Houdini sustained seven black eyes and a broken wrist. He also broke his wrist whilst making "The Grim Game."

A TENSE MOMENT

"During the screening of this picture I thought at one time in the course of the action, that my end had come," he told me. "I was 3,000 feet up in an aeroplane, circling over another machine. The plan was for me to drop from my 'plane into the cockpit of the other by means of a rope. I was dangling from the rope-end ready for the leap. Suddenly a strong wind turned the lower plane upwards, the two machines crashed together--nearly amputating my limbs--the propellers locked in a deadly embrace, and we were spun round and round and round." Houdini pronounced the latter words with a peculiarly apt "whirring" intonation, graphically illustrating them by the circular action of the arms. "But," he continued, "by a miracle, the 'planes were righted into a half-glide, and, though they were smashed into splinters by their terrific impact, I managed to escape unhurt. As usual, Houdini became undone!" concluded the narrator with a laugh.

HIS GREATEST STUNT

"What do you consider the greatest stunt you have done for the screen?" I asked, when I had recovered my breath.

"Another incident in the same picture," answered Houdini. "I stood in the archway of a prison, thus----" Here he took up a crouching position in the corner of the room, and enacted the whole thing for my benefit. "A heavily loaded lorry, going at twenty-two or four miles an hour rolled by me. I threw myself on the ground, completely rolling over between the fast revolving fore and hind wheels, over and over, till I caught the transmission bar, and hung there for very dear life! Thus was I carried to the aid of the heroine. Though my words may not convey very much, this was my greatest stunt. It allowed for no rehearsals--I said to the camera-man, 'Get this now or never!' And had I made the slightest false move I should have been crippled for life, if not killed."

In spite of the risks he has taken before the camera, Houdini has a profound love and admiration for the "movies."

"I think the film profession is the greatest," he told me "and that the moving picture is the most wonderful thing in the world. One reason why I love the screen is because it has use for the derelicts of life, and gives employment to the old as well as the young. I entered the profession myself because I knew I should eventually be losing my strength, and before that happened I wanted to perpetuate my feats, and by so doing everyone, in all parts of the world, can see them. Pictures have increased my drawing power two-hundredfold."

Houdini, as related at the commencement of this chat, had one of his greatest compliments paid him by critics of his film work, but before I left him he confessed that what he considers the very greatest tribute ever made to his unique achievements is recorded in a dictionary! Turn to Funk and Wagnall's Standard Dictionary, and there you will find it:

"HOU'DI-NI. 1, hu'di-ni;

2, hu'di-ni, HARRY (4-6, 1874). American mystericist,
wizard, and expert in extrication and self-release
HOU'DI-NIZE vt. To release or extricate oneself from
(confinement, bonds, or the like), as by wriggling out."

So, taking Houdini all in all, I may consider the fact that this wonder-man, this "expert in extrication," made no effort to escape from at least one thing this interview!

MAY HERSCHEL CLARKE.

Sat.] ROCHESTER EVENING TIMES [Nov. 4
1916

Minister uses Houdini's name for Sermon

His Art of Getting Out of Things as Topic of Sermon

The name of Houdini, who has been a headliner at a local theater this week will figure in the sermon at the Genesee Street Baptist Church, to-morrow morning, where the pastor, Rev. Clark, will talk on "Houdini and the Art of Getting Out of Things." The pastor, however, insures that he will reveal none of the vital points of the art, but declares that the sermon will be entirely spiritual.

THE SUN

Pittsburg Monday, Nov. 6th, 1916

20,000 People see Houdini Thrilling Air Struggle.

WIZARD TIED IN JACKET IS FREE IN 3 MINUTES.

STRAPPED TIGHTLY BY GUARDS FROM MAYVIEW HE HANGS HEAD DOWN WARD.

SUN BUILDING IS SCENE.

WHILE SPINNING DIZZILY FIFTY FEET ABOVE PAVEMENT HE ESCAPES FROM BONDS.

Swaying, head downwards, like a grotesque human pendulum, 50 feet above the pavement in front of The Sun Building, Harry Houdini, "handcuff king," defier of locks, bars and bonds, freed himself from the grip of a canvas, leather-reinforced straight-jacket, in a fraction more than three minutes, shortly after 12.40 o'clock this afternoon.

The waving of his free hands and arms, that a crowd estimated at 20,000 has seen bound by two attendants from the Mayview (old Marshalsea) Hospital for the Insane, told the watchers that Houdini had achieved one of the most unique feats in his strange career. As he was lowered swiftly to the ground, a great cheer arose, followed by another and another as he stood upright and bowed to the throng which not only packed the streets but filled every window and roof top within view of the scene.

WIZARD IS ON TIME

Urbane, smiling, the elusive Houdini appeared in the office of "The Sun" at 12 o'clock. R. D. Polling and H. Guthrie, the two attendants from Mayview detailed to truss him up, awaited him, and with them the straight-jacket, in a satchel.

Houdini shook hands with both men, speaking humorously of his position as substitute for the deranged persons the two Attendants ordinarily handle. The two men, clad in the white uniforms used by them when on duty, surveyed their voluntary victim noted his short, stocky form, his powerful arms and shoulders, his steady, bright eyes.

Both have had long experience in binding frenzied men. Both were determined, they told Houdini, to use the full resource of that experience in binding him. They knew the prowess of the man they had to deal with. They did not comment upon the outcome of the test.

They were there, they said, to do their work as best they knew how.

Houdini urged speed of action, and absolute surety in fastening the innumerable straps of the straight-jacket.

"Treat me," he advised, smiling, "as you would the most dangerous of the criminal insane."

EVERY MOVE IS WATCHED

The strait-jacket was taken out of the satchel. The handcuff king examined it carefully, while a group of persons looked on. Not a move he made was lost. He dropped the piece of canvas and leather carelessly, smiled again, and said:

"Very good. Are we ready?"

It was almost 12.30 o'clock. Houdini glanced out the window, and again his characteristic, quiet smile came to his face as he saw Wood street and Liberty avenue congested from wall to wall with closely packed, restless humanity.

Then a white-clad attendant on each side, he went downstairs to the street to be bound.

A suppressed shout came from the crowd as he appeared in the doorway of The Sun building. It increased in volume as with the attendants and two members of "The Sun" at 12 o'clock. R. D. Polling wagon that had been pulled up on the pavement, and that was serving as a stage.

Above him, like a gallows, a single beam projected from a window at the top story of the building, and a rope swung clear, coiling in sinister fashion at his feet.

Houdini had removed the outer clothing from the upper part of his body.

"Ready," he said.

STRAPS ARE FASTENED

The two attendants pressed close. His arms were inserted in the long, closed sleeves of the straitjacket. One of the attendants clasped him about the body, as if fearing he would make some mad effort to escape. The other standing behind him, fastened strap after strap, with a steady deftness that made both for security and speed, and revealed long practice.

"Make it tight," came the quiet word from the prisoner.

The man's knees went up for purchase in the small of Houdini's back. Using apparently every ounce of strength in his broad-shouldered six-foot body, the attendant drew the big strap through the buckle until it would not yield even a sixteenth of an inch more. He caught it there and made it fast.

Then the arms of the prisoner were crossed over his body, and the ends of those closed sleeves were brought around in back. Again the knee was brought into use. Again the strap was pulled to its highest tension.

The crowd watched, stirred with a constant murmur and movement.

Then Houdini's ankles were fastened to the rope, by a special appliance that prevented injury, but insured safety.

A word was spoken. The two attendants seized the bound man's body. Workmen drew the rope steadily through the pulleys. Houdini's feet went up, and as his body cleared the platform, it was released.

HANGS IN MID-AIR

The handcuff king dangled head downward. Each moment he was drawn higher, swaying slightly, spinning dizzily. Up-up, past the windows in the fifth story of the Sun building. Houdini was drawn.

Then he hung still.

Only for a second. While watchers gleamed in the crowd below, the handcuff king was seen to struggle, not frantically, but with a steady, systematic swelling and contracting of muscles, and almost imperceptible lithe, wrigglings of the torso.

The struggle went on. One minute--two--then three----

Would he do it? Hundreds in the crowd undoubtedly were asking that question. From above came an inarticulate shout. The muffled arms writhed one after another over Houdini's head. His hand, still encased in the sleeves of the strait-jacket, fumbled quickly and effectively with the buckles at his back. Another contortion and the strait-jacket slipped down over his chest, over his head, and was flung from his arms to the street, in a crumpled heap.

Houdini was free.

The arms waved. Houdini had triumphed--as he always triumphs.

Less than a minute later, while the crowd's cheers still rang against the grey walls of surrounding buildings, he slipped down the face of the building to the platform. The attendants received him in a twinkling, and he stood erect, unconsciously throwing back his broad shoulders.

The little man with the touch of grey at his temples bowed quietly, still with that imperturbable smile. And the crowd cheered him again, before it began slowly to dissolve.

Houdini duplicated this feat at the Boston Post, Boston, Mass., December 22, 1921, drawing the biggest crowd that ever crushed into Tremont Street.

The accompanying illustration is the prize offered by the Australian Aerial League for the first successful flight on a heavier than air machine. Won by Houdini March 16, 1910, Digger's Rest, near Melbourne Australia. Houdini piloted his own machine--a Voision Biplane equipped with a E.N.V. 60.80 H.P. Motor. During his Australian Tour Houdini made 18 successful flights.

_LONDON, ENGLAND_

HOLBORN EMPIRE BESIEGED BY CROWD INSIDE AND OUTSIDE--UNPARALLELED SCENES WITNESSED IN HIGH HOLBORN--POLICE RESERVES CALLED OUT

A packed house, to show its disapproval of the management's action, remains at the Holborn Empire, from 2:00 to 9:00 P. M., waiting for Houdini's appearance as advertised. Police forces were called out as the matinee crowd, refusing to leave the theatre, the evening crowd blockaded traffic, being unable to gain admittance. Unparalleled scenes witnessed in High Holborn.

_"THE PERFORMER" LONDON ENGLAND, DECEMBER 15, 1910._

A STAND FOR JUSTICE

Houdini's Protest

"For some mysterious reason, surprisingly little attention has been given in the daily papers to a remarkable 'scene' at the Holborn Empire last Thursday, when Houdini made a plucky and public-spirited protest against prevailing matinee methods. We must, we suppose, attribute to the present obsession of politics the scant attention given to a very unusual incident, of interest alike to the public and the profession.

"Having received an intimation from the management that, although he was topping the week's bill, his services would not be required at the Thursday matinee, 'owing to the length of the programme,' Houdini expressed himself perfectly agreeable to this arrangement, subject to the condition that due intimation should be given to the public that he would not be appearing.

"This condition not being complied with, he took an opportunity of going on to the stage at the conclusion of one of the matinee turns in order to quietly explain the reason for his non-appearance and to show that it was not his fault that he was breaking faith with the public. He did not urge the audience, as was stated in some reports, to stay until he appeared, but said that he assumed some at least had come to see him perform and that it seemed to him such were certainly to have their money back if they did not see him.

"The performance went on quietly until 'God Save the King,' when the audience took the matter into its own hands and refused to disperse, calling for Houdini to appear. After a scene of considerable excitement, 150 persons ultimately accepted the management's offer of vouchers for another performance and left the building, but the great bulk of the audience remained until after the conclusion of Houdini's performance at the first evening house, when they trooped out, leaving the place only a quarter full.

"The queues which formed up for the first house had in the main to be accommodated at the second house, and great difficulty was experienced in controlling the further arrivals for the second performance.

"The audience's just appreciation of Houdini's protest was voiced in the remarks of a Labor leader who helped to beguile the interval between the afternoon and evening houses by making a speech. He said that he had frequently attended such matinees, and had always attributed the frequent failure of some one or more well-known artists to appear to his (or her) personal indifference or indolence, but that now they knew the real reason why the public were disappointed.

"In view of a managerial allegation to the afternoon audience that Houdini was not allowed to appear because he had broken his contract, we quote from a further considered protest with which Houdini prefaced his performance at the first house in the evening. He said:

"'Before proceeding with my performance this evening, I
believe that there is an explanation due to a great many
who are assembled here as to the cause of my non-appearance
here this afternoon, and if it would interest you to hear,
I will explain. I wish to inform you that it is positively
no fault of mine, because I was here in the building, ready
to work, but the management refused to allow me to go on.
I will read a number of letters that I have here, which
thoroughly explain the case, and I wish to inform you that
I have played a good many weeks on this tour, and never
knew exactly where I was going until a few days ahead. I
was billed to appear at the Holborn a short time ago, and,
without any notification whatever, I was sent to Woolwich,
and the public received no explanation why I did not appear
here.

"'Very likely a great many thought that I had broken faith
with the public, and last night I received a letter--dated
the 6th--after the second performance (about 11 o'clock)
which was 33 hours later than dated, notifying me that my
services were not required for the matinee performance.'

"Having quoted this letter and his reply stating the condition on which he was agreeable to the arrangement, Houdini continued:

"'Now, ladies and gentlemen, I wanted to keep faith with
the public, and informed the management that I would give
the salary that I was earning at the matinee to the V. A.
B. F. if they would only allow me to appear, as I knew my
reputation was at stake. Being billed, and not appearing,
what would the public think? Despite this, I was not
allowed to appear, and I trust that those who are assembled
here this evening will see my motive in allowing the public
to know the real cause of my non-appearance, and that it
was positively not my fault.'

"The first result of this dignified protest was that Houdini's services were, notwithstanding notice to the contrary, requisitioned for the Saturday matinee."

* * * * *

Houdini, in his speech to the audience that evening, was forcible and to the point, informing them that it was the greatest compliment that had ever been paid him--an audience waiting seven hours in a theatre for him--and that he would never forget it--and he never will.

Boston Daily Globe, March 19, 1906.

HOUDINI ESCAPES FROM CITY PRISON

Handcuffed, Ironed, and Locked in Cell, He takes only 16 Minutes to Get Out and over the Wall

Harry Houdini, the young man who, apparently, cannot be held in restraint by steel bars, handcuffs, prison locks, or other restraining measures, gave the Boston Police Department a terrific jolt this forenoon when he escaped from double confinement in the city prison, commonly known as the Tombs, a prison which the heads of the police department had confidently believed to be escape proof.

Superintendent of Police William H. Pierce personally superintended the confinement of Houdini, himself locked the wizard into a cell on the second tier of the prison, after he had clamped handcuffs on his wrists and leg irons about his ankles, and the superintendent's face wore a smile of confidence and assurance after he had locked the cell doors and went down into the office of the prison to await results.

The superintendent's smile didn't wholly come off when, a few minutes later, he learned that Houdini not only had escaped from his cell, but that he had escaped from the prison, and was nearly a half-mile away; but the smile was faded and frayed at the edges, and no questioning could get the superintendent to say what he thought of the wonderful performance. All that could be gotten out of him was, "I have nothing to say."

Heretofore the police have believed that no one locked in a cell at the Tombs could possibly get out; but Houdini not only got out, but he opened door after door after he had removed the handcuffs and leg irons, and walked from one part of the prison to another with apparently as much freedom as though he wasn't met every few feet with a lock that had been considered impregnable.

CLOSELY SEARCHED FOR KEYS.

Briefly, here is just what happened: Houdini had secured permission from Superintendent Pierce to make an effort to escape from the city prison, and this forenoon, in the presence of about 30 men, the superintendent let Houdini into cell No. 77 on the ground floor of the Tombs, where Houdini, in the presence of the witnesses of the test, removed every stitch of his clothing, which he left lying on the bunk in the cell. When he came out, Capt. Clarence A. Swan, the keeper of the prison, locked the cell door upon Houdini's clothing, and then the young man was taken to the second floor of the block of cells, where Superintendent Pierce and a number of the men witnessing the test searched his hair for possible concealed keys or other instruments. Not a thing was found, and Houdini even asked to have his feet examined so there would be no question of his having a key concealed between his toes, and this was done.

SHACKLED AND LOCKED IN, HOUDINI BREAKS JAIL.

CENTRAL FIGURES IN WIZARD HOUDINI'S MYSTIFYING JAIL ESCAPE AND DIAGRAM OF HIS MOVEMENTS.

_Cut by permission of The Boston Journal._]

_Caricatures by permission of Boston Post._

Then Superintendent Pierce took a pair of the most approved handcuffs used in the police department and fastened them securely about Houdini's wrists, and on his bare ankles he clamped a pair of tested steel leg irons so tightly that the iron sank into the flesh. After that Houdini was locked in cell No. 60, and Superintendent Pierce and the witnesses went downstairs and out into the office, expecting Houdini would go there, providing he got out of his cell, and the police officials who were present seemed to feel pretty confident that he couldn't do that. This feeling was shared by some of the outsiders present, who could not bring themselves to believe that it could be done.

_Photo with permission of the Boston Globe._]

The only condition Houdini attached to his performance was that no one should be allowed to go into the part of the prison where he was confined to watch him escape, and the superintendent and the witnesses respected that condition, and most of them stayed in the captain's office. A few of the witnesses, however, went out into Somerset Street to wait and watch; for, knowing Houdini, they were prepared to see him come out anywhere.

These confident ones were rewarded for their trust, for 16 minutes after Houdini had been locked, naked, handcuffed, and ironed by the legs, into cell 60, he was seen running, fully dressed, except that he had not put on his collar and tie, across the prison yard, to climb up the wall leading into Somerset Street, to vault the iron railing at the top, and then to leg it like a scared rabbit over the hill in the direction of Keith's Theatre.

THE LITERARY HOUDINI

As is the case with many great men, the gift of being able
to do many things, and to do each thing well, is Houdini's,
who besides his achievements as a mystifier has also won
wide recognition as an author. That he has found time
to write a great deal is attested by his list of books,
namely: "Miracle Mongers and Their Methods," "The Unmasking
of Robert Houdin," "The Sane Side of Spiritualism," "The
Right Way to do Wrong," "Magic Made Easy," "My Training
and my Tricks," "Paper Prestidigitation," "Handcuff
Secrets," "Magical Rope Ties and Escapes," "Good Night
Stories for Children," "Dan Cupid the Magician" (a series)
and "Magicians' Romances." Numerous magazine articles and
stories swell his literary output to greater proportions.
Editor for two years on standard work of magic, "The
Conjurors Magazine."

In addition he has also written the stories for the
feature films in which he was starred, namely, "The Man
From Beyond" and "Haldane of the Secret Service," which
were picturized by his own producing organization, Houdini
Picture Corporation; "The Grim Game" and "Terror Island,"
written in collaboration with Arthur B. Reeve and John W.
Grey, produced by Famous Players-Lasky Corporation.

HOUDINI PICTURE CORPORATION

In 1921, upon returning from his triumphant tour of Great Britain, Houdini organized his own film producing company for the purpose of making special feature pictures. The company, incorporated as Houdini Picture Corporation, capitalized at $500,000, began operations in the spring.

At the time of this writing two features have been completed--"The Man from Beyond" and "Haldane of the Secret Service." The first is characterized by those who have seen it at private pre-release showings as the most unusual picture ever screened, containing, as it does, originality of thought, novelty of treatment, and a thrilling finish that encompasses any thrilling situation yet produced for motion pictures.

The second picture, with interlocking scenes taken abroad, tells a mystery story and likewise demonstrates the ingenuity and resourcefulness of Houdini as producer, author and star.

Both pictures will soon be released to the public.

Scenes from Photoplays

JESSE L. LASKY Presents

HOUDINI

IN

"The
Grim
Game"

A Paramount-Artcraft Picture

This picture contains the only airplane collision in the clouds ever photographed.

$1,000 reward to anyone proving the collision in the clouds is not genuine.

Starring Houdini

JESSE L. LASKY Presents

HOUDINI

IN

"_TERROR ISLAND_"

A Paramount-Artcraft Picture

The most amazing under water scenes ever enacted were recorded by the camera for "Terror Island."

Scenes from Photoplays

HOUDINI PICTURE CORP. Presents

HOUDINI

in

"The Man From Beyond"

_Shortly to be Released_

Starring Houdini

HOUDINI PICTURE CORP. Presents

HOUDINI

in

"Haldane of the Secret Service"

_An International Mystery Drama shortly to be released._

Picture Plays, Confessions Album.

No. 14.--MR. HARRY HOUDINI

=1. What is your favorite theater?=

All the world is a theater to me.

=2. Which is your favorite hobby?=

Browsing in old bookstalls, seeking old dramatic items for my library.

=3. Which is your favorite pastime?=

Out door athletics and long distance swims.

=4. Which is your favorite song?=

"Auld Lang Syne."

=5. Which is your favorite sweetmeat?=

Candied fruits.

=6. What is your idea of comfort?=

Seated in a large arm chair in library and hearing Mrs. Houdini call up: "Young man your lunch is ready."

=7. Which is your unlucky day?=

Haven't any; an unfortunate incident at any time simply builds a foundation for something better.

=8. What is your favorite motto?=

"And this, too--shall pass away."

=9. When have you felt at your worst?=

Once when sailing round the world, at a longitude of 80°, we had two Tuesdays in one week and no Wednesday, which meant losing a Christmas, and I was seasick at the time. It will be an awful thing to eclipse my painful anguish.

=10. What is your pet aversion?=

The bald-headed man who says: "Ah, I remember you when I was a boy."

=11. What is your greatest ambition?=

To live a life and die being worthy of the mother who bore me.

=12. What is your favorite holiday resort?=

Hollywood, California.

=13. Who is your favorite author?=

My dad.

=14. What is your idea of misery?=

Arriving in a town at midnight on a drizzly wet, foggy night, and finding all the hotels full up.

HOUDINI ABOUT TO DISAPPEAR

WELL, GOODBYE]

The National Casket Company challenged Houdini to escape from one of their heavy hickory coffins after they had fastened the cover down with six inch screws. Houdini accepted the test, which took place before members of the Boston Athletic Association, Boston, Mass. He escaped, the coffin was intact, showing no means of egress.

MR. COTTON

INTERESTED SPECTATORS IN THE FRONT ROW.

A LITTLE MORE AIR FOR MR. HOUDINI

THE HAGGARD HOUDINI REAPPEARS

HOPE I GET OUT OF MINE AS QUICKLY]

How does he do it?

JAMES H. HARRIS,
WARDEN,

W. GRAYSON URNER,
DEPUTY WARDEN,

United States Jail,

_Washington, D.C._, January 6th, _1906_

This is to certify that Mr. Harry Houdini, at the United States Jail today, was stripped stark naked, thoroughly searched, and locked up in cell No. 2 of the South Wing,--the cell in which Charles J. Guiteau, the assassinator of President Garfield, was confined during his incarceration, from the date of his commitment, July 2nd, 1881, until the day on which he was executed, June 30th, 1882. Mr. Houdini, in about two minutes, managed to escape from that cell, and then broke into the cell in which his clothing was locked up. He then proceeded to release from their cells all the prisoners on the ground floor. There was positively no chance for any confederacy or collusion.

Mr. Houdini accomplished all of the above-mentioned facts, in addition to putting on all his clothing, in twenty-one minutes.

J. H. Harris
Warden United States Jail, D. C.

AUDUBON PRINTERS MITCHEL SQUARE NEW YORK

* * * * *

Transcriber's Notes

Minor punctuation typos have been silently corrected. Some descriptive captions were added by transcriber to Illustrations in text version and are placed in the public domain.

Page 2: "teems" should probably be "teem."
(Orig: His press clipping books teems with stories)

Page 2: "that" should probably be "than."
(Orig: reader's attention more closely that if he were absorbing)

Page 2: "ad infitum." should probably be "ad infinitum."
(Orig: And so, ad infitum.)

Page 8: Retained "Schutzmann" as a variation of "Schutzman."
(Orig: The chief one was Schutzmann Werner Graff,)

Page 14: Changed "Hollard" to "Holland."
(Orig: Amsterdam, Hague; Dordrecht, Hollard;)

Page 37: In the dictionary, the umlauts in =Hou'di-ni=, 1 hü'dï-nï; represent macrons in the text version. In 2 hu'dï-nï, they are umlauts.

Page 38: "cought" might be a typo for "caught."
(Orig: he had cought the coin in his mouth.)

Page 40: Changed "a" to "as."
(Orig: and a soon as I would have seen anything)

Page 43: "tumultous" might be a typo for "tumultuous."
(Orig: broke into tumultous hand-clapping.)

Page 43: Changed show, roarded Willard, to show," roared Willard,

Page 47: Added missing "of" between "straps" and "the".
(Orig: in fastening the innumerable straps the straight-jacket.)

Page 47: Changed "smilling" to "smiling."
(Orig: "Treat me," he advised, smilling)

Page 49: Changed "arrangemnt" to "arrangement."
(Orig: perfectly agreeable to this arrangemnt)

Page 57: Changed "orgnized" to "organized."
(Orig: Houdini orgnized his own film producing company)