(Revised 1922 Edition).

HARRY HOUDINI, "the World's Handcuff King and amazing Prison Breaker," a title universally and unanimously bestowed upon him, has had a career as adventurous and romantic as the most imaginative writer could possibly conjure.

Indeed, this wonderful genius, with a science concerning bolts, bars, locks, and chains that will yet revolutionize the world's methods of safeguarding itself against "the men that prowl in the night," confirms the truth of the ancient adage that "truth is stranger than fiction."

Just remember for a moment that he is the man to whom the shrewdest police, the sharpest detectives, and the most watchful jail wardens look with awe and anxiety.

And they are eminently right in this attitude of disquiet, because they know that buried in the brain of Houdini lies the secret of an unknown power he alone possesses that makes their prisons as powerless as Japanese screens, and renders their multiple-locking handcuffs, leg irons, and all the other prison paraphernalia, no more binding than store twine.

Suppose the innate and inherent integrity of character that Houdini possesses, in common with most men brought up within the circle of a mother's sweet influence, were to be swept aside by the desire for riches not his own. There are many men of many millions to-day whose money is not their own. Suppose he should be captured by a band of desperate men determined to wrest from Houdini this secret worth millions. Suppose a great hypnotist were to obtain dominance over this mystery-enveloped genius and use his baneful powers for evil designs. What then?

A slight knowledge of the marvels Houdini has accomplished mixed with a little imagination would create as many more suppositions of this kind as this book could contain.

But, to be brief, admitting the possibility of the happening of any of these suppositious instances, and you will gain a clear idea of the extraordinary character and quality of Houdini's powers. It is often the best way to see the full scope of a cause by carefully ascertaining its effect. This analytical method is equally applicable to Houdini, and recognizing the harm he would receive were his secrets confided to unworthy hands, you gain an adequately impressive idea of the enormity of responsibility that rests upon him.

Time and time again Houdini has encountered such perils, and in every case he owes his life and the preservation of his secret to his extraordinary acuteness of perception, to his marvelous knowledge of human nature, to his physical prowess that is far greater than appears from a merely superficial inspection, and, last and greatest of all, to the fact that the majority of people witnessing his wonders attribute a quasi supernatural power.

His press clipping books teems with stories proving the truth of one and all of these assertions. To glance over its pages enchains the reader's attention more closely that if he were absorbing an exciting romance. Accounts of thrilling jail-breaking feats are pasted beside stirring chronicling of handcuff escapes. Columns upon columns of laudatory press criticisms crowd colored cartoons and caricatures that connect Houdini and the great men of Europe in the great political crisis of the last few years.

It being true "that genius is but the capacity for hard work," then it is only a proper introductory tribute to Houdini to state that he is not a mushroomgrowth, sprouting and decaying in a night.

In the development and perfection of his astounding powers over metallic components Houdini has labored as tirelessly as Galileo constructing his astronomical theory, as Stephenson building the first locomotive, as Edison bringing to view the telephone, as Marconi revealing the wireless telegraph.

"How does he do it?" is the universal query.

Of course, he does not, he dare not tell what exertions of power, natural or supernatural, he makes in freeing himself from handcuffs, and in escaping from the dungeons that have held felons until the grave finally hid them forever.

Guesses are multiplied many, many times by all sorts and conditions of men and women. As many theories have been propounded as there are stars in the firmament. Some say he slips out of handcuffs like an eel slipping through an amateur fisherman's fingers. Others say he manipulates cell locks by muscular magnetism. A third class declares that he squeezes himself through bars of cells. Still more say spirits aid him in his escapes. And so, ad infitum.

Suffice it is to say that Houdini actually does all that the newspapers credit him doing.

He was born April 6th, 1874, in Appleton, Wis., and a little calculation will show that he is still far from the meridian of life. From the beginning he showed an insight into mechanics and mechanism that may be compared with the early endeavors of other men who have wrought wonders in the name of science. He showed a tendency toward travel, too, and in his ninth year had a brief experience with Jack Hoefler's "five cent" circus in his home town. Then came an apprenticeship as a mechanic, and after an uneventful term with "the tools of trade" Houdini resolved to see the great world with his own eager eyes. So he ran away from home, as so many others have done that in later years attributed their greatness to their early contact with the corrugated side of life. He joined a small circus, and, being exceptionally bright, he soon learned to conduct the Punch and Judy show, to do a ventriloquial act, and also to play clown on the bars. It may be, too, that "he doubled in brass" or played in the band, though he has never said so.

Here began the experiences that quickly ripened Houdini into the World's Handcuff King and Prison Breaker, which he is, has been and always will be. In exploring his wits for exploits to amuse and entertain the audiences, Houdini hit upon the feat of escaping from ropes tied round him in every conceivable way. He became so expert that he eventually offered a challenge of $25 to any one who could tie him so that he could not escape. And he never has lost a cent of the proffered money.

Then came the full turning-point in his career when he looked for greater worlds to conquer, and began the mastery of handcuffs, leg irons, shackles, etc. Of course, proficiency came with practice in secret, and then the public was permitted to witness the efforts of the young wizard.

Houdini went to England without an engagement. He went to Mr. Slater, manager of the Alhambra, London, gave several trial shows, got a contract for two weeks, then one for six months at £60 a week.

Since then he has been a top-of-the-bill star everywhere. He has made enormous salaries on the continent, where he is tremendously popular. He has broken records for paid admissions all over Continental Europe. In the week he performed before the Grand Duke of Russia he earned in public and private performances over £400, an enormous salary in those days.

In 1905, he returned to America for a brief tour, and he became at once the sensation in every city. Jails have fallen before his power like cities in the olden time before the armies of Caesar. The police of America join the gendarmerie of Europe in declaring, "Nothing on earth can hold him a prisoner." All the strongest cells and prisons in the United States have succumbed to the mysteriously potent force he exerts. Perhaps his most historic feat was his escape in January, 1906, from Cell 2, Condemned Murderers' Row, in the United States Jail at Washington, D. C., the very cell in which Guiteau, the assassin of President Garfield was confined until he was led forth to be hanged. Another great work was his escape from double confinements in the Boston Tombs at Boston, Mass. March 20, 1906.

Since 1908 Houdini has dropped handcuffs, and has made his performance replete with new mysteries, introducing his original invention—escaping out of an air-tight galvanized iron can filled with water, after it has been locked into an iron pointing hand bound chest, and the intricate inexplicable escape from the Water Torture Cell, and releasing himself from a regulation strait jacket in full view of the audience, and during the week accepting various challenges.

Any reader of this who wishes to challenge Houdini, or has any novel method of securing Houdini, must write to publicly advertise address and name of Challenger or Challengers. No Challenge can be accepted for same date on which it is sent.

Instead of remaining in America six months as his original contract stipulated, he was the sensation of show business from his opening 1905, until his departure for Germany, August 1908.

His leap from the Frederichstrasse Bridge, in Berlin, Germany, heavily manacled, September 5th, 1908; his daring plunge into the Weser, Bremen, having to break through ice, Paris, from the roof of the gruesome Morgue, April 7th, 1909, brought record houses at the Circus Busch, Berlin, and Alhambra Theatre, Paris, causing his imitators to try and duplicate his feats. Two were fortunately saved from a watery grave, Alburtus, in Atlantic City, being saved by the life-saving guard, Menkis was brought up in an unconscious state, and Ricardo jumped handcuffed from the Luippold Bridge, Landshut, Bavaria, April 14th, 1909, and was drowned.

Cold waters have no terrors for Houdini, as he dived manacled into the Mersey River, Liverpool, December 7th, 1908, also in the Egbaston Reservoir, Birmingham, December 15th, 1908. In all dives Houdini makes use of the regulation police handcuffs, chains, and leg irons.

Houdini returned to America again in 1914, just before the World War, toured the country, appearing for two seasons at the World's biggest Theatre, the New York Hippodrome, the first season presenting his inventions, The Vanishing Elephant, in which he caused an elephant named "Jennie" to vanish, who weighed over ten thousand pounds, and said to be a daughter of the beloved Barnum's "Jumbo," and in the second half of the Hippodrome show, performing the Submarine Box feat, escaping from same whilst under water, and the box being entirely filled with water.

Second season, introducing the Escape from Strait Jacket, suspended sixty feet in mid-air, hanging by his ankles, and presenting for the first time on any stage another of his inventions, The Whirlwind of Colors, in which he produced hundreds of yards of silks, giant flags, and for a finish the only tame American Eagle of this decade. It is known that Old Abe was a tame eagle, used by the Union soldiers as a mascot, but this Young Abe, trained by Houdini is the only one known that any one could handle.

Houdini gave his services to the Government, giving performances in the camps, for two consecutive years, not accepting engagements, and is proud of the fact of having sold over two million dollars worth of liberty bonds.

The years of 1918, 1920 and 1921 he became a Cinema star, recognizing the fact that Dame Nature would demand her due, and that the future generations would not believe that any man could perform the feats with which he is credited. So he originally went into a company to produce a 15 episode serial, "The Master Mystery," making such a sensational success that Mr. Jesse L. Lasky engaged him for a feature picture, "The Grim Game," and before this was released, Mr. Lasky re-engaged Houdini for a second picture, "Terror Island." Both features were the sensations of the year.

To fulfill contracts made eight years before Houdini, in January, 1920, returned to England for a tour of the principal music halls. So great was his success that even his former triumphs were eclipsed. Throngs followed him whenever he appeared on the streets of the provincial towns of Great Britain. He broke house record after house record, drawing such box office returns that the Moss Empires management waived its right to hold him to the figure named in the eight year old contract and voluntarily doubled his salary.

Upon his return to America Houdini organized his own film producing company of which more will be told in subsequent pages.