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Tonight on "History's Greatest
Mysteries"...
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00:00:10,320 --> 00:00:12,440
He was the greatest
escape artist of all time,
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00:00:12,600 --> 00:00:17,000
and his name was the embodiment
of mystery and wonder.
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00:00:20,760 --> 00:00:22,760
I'm Laurence Fishburne.
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00:00:22,920 --> 00:00:26,160
Even though Harry Houdini
has been dead for
nearly a century,
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00:00:26,320 --> 00:00:28,720
key questions remain
about his life.
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On tonight's mystery,
Houdini's diaries,
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kept under lock and key
in New York City,
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may answer
some of those questions.
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It is the first time
they have been made public.
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00:00:42,840 --> 00:00:46,760
Goodwin: For the first time,
we're getting to see Houdini
in his own words,
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00:00:46,920 --> 00:00:49,720
the most unfiltered
version of the man.
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00:00:51,520 --> 00:00:52,920
Fishburne:
What do the diaries reveal
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00:00:53,080 --> 00:00:55,560
about the real Harry Houdini,
his background,
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00:00:55,720 --> 00:00:58,120
and how he became
the world's greatest showman?
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00:00:59,880 --> 00:01:01,800
Caveney: Houdini wanted to
be bigger than life
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00:01:01,960 --> 00:01:05,480
and he would do anything
towards that end.
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00:01:05,640 --> 00:01:07,640
What was the secret
of his mass appeal?
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00:01:07,800 --> 00:01:12,560
Teller: Houdini was certainly
the person who made the idea
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00:01:12,720 --> 00:01:15,880
of an escape artist
mean something to the world.
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00:01:16,040 --> 00:01:18,800
Jilette: "I defy the jails
of the world to hold me."
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00:01:18,960 --> 00:01:22,040
That is a better slogan than
"All you need is love."
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00:01:22,200 --> 00:01:24,600
How much did he risk
to stay famous?
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Cox: Up until this point,
the stakes were
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if Houdini fails,
it's humiliation.
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Now the stakes
are life and death.
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Fishburne:
And did his all‐out war
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against the people who claimed
to speak to the dead
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get him killed?
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Were spiritualists bad enough
to commit murder?
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Yes. Can a university student
punch wicked hard? Yes.
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The legacy and life of
a legend who cheated death
until it found him.
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00:01:54,720 --> 00:01:58,880
( music playing )
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00:02:10,320 --> 00:02:14,000
The most famous magician today
is Harry Houdini.
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The first magic name
people can name?
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Harry Houdini.
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00:02:21,320 --> 00:02:22,760
Kids on the street
know his name
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when they don't know
Penn and Teller.
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00:02:26,720 --> 00:02:28,760
Culliton:
In any famous person's life,
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there are at least
three different stories
for any one event.
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Except in Houdini's life,
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there are 10 stories
to any one event.
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Fishburne:
Harry Houdini kept diaries
throughout his life.
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While some have been released,
thousands of pages‐‐
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some handwritten,
some typed‐‐
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have remained a mystery,
hidden from public view.
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00:02:54,000 --> 00:02:57,360
A handful of trusted magicians
and Houdini scholars
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00:02:57,520 --> 00:02:58,880
have been allowed
to read them.
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00:02:59,040 --> 00:03:02,960
At last, the custodian
of the diaries,
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00:03:03,120 --> 00:03:04,960
magic historian Bill Kalush
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00:03:05,120 --> 00:03:08,760
has agreed
to make them available.
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The diaries now being
made available through
this documentary
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is a really big thing.
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This would be the first time
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00:03:16,720 --> 00:03:19,160
that we'll be able
to peruse these diaries
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00:03:19,320 --> 00:03:22,560
and learn more things about
Houdini's life and career
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than we could ever have
in any other way.
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Fishburne:
The diaries have been
organized to help decipher
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the key chapters
in Houdini's life
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where secrets
and questions remain‐‐
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starting at the beginning.
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Culliton: Harry Houdini
was a personality invented
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by a very ambitious young man
named Erik Weisz.
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Fishburne:
When he was 30 years old,
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Houdini lies
about where he was born
in his own diary.
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00:04:00,120 --> 00:04:01,640
Cox: What's the first
mystery of Houdini?
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And it starts with his birth.
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Houdini was born
in Budapest, Hungary,
on March 24th, 1874,
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yet his diary says,
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00:04:11,320 --> 00:04:14,920
"Harry Houdini born April 6th,
Appleton, Wisconsin."
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00:04:15,080 --> 00:04:19,840
Kalush:
Houdini absolutely knew
he was born in Budapest,
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March 24th 1874.
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He knew he was four years old
when he came to the U. S.,
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so the question is why.
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Lynch: So, Houdini
was born Erik Weisz
and no one exactly knows
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why the family
would move to Appleton.
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The legend that Houdini
apparently would always tell
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was that his father
got in a duel
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with some member of
the Hungarian royal family
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and ended up killing him
and had to flee to America.
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00:04:51,320 --> 00:04:54,320
Fishburne:
What is known for sure
is that Erik's father
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has a respectable position
waiting for him in Appleton.
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Kalush: They had a number
of Jewish families,
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so they needed a rabbi,
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00:05:03,320 --> 00:05:06,960
and that's what his father
Rabbi Weisz did.
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He came of consciousness
in this idyllic small town
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where his father
is an honored man.
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There's beautiful fields,
there's creeks to swim in.
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It is the American ideal,
and that's the world
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Erik Weisz comes to know.
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Fishburne: Though life
is initially good
for the Weisz family,
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circumstances soon
take a turn for the worse.
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Kalush:
When Erik was not very old,
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they fired his father
as the rabbi.
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And they left Appleton
for Milwaukee,
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and things took a bad turn.
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They lived in poverty
at that point.
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They lived very poorly.
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And it was a time that
he wouldn't even recount.
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He wouldn't talk about
his time in Milwaukee
because it was so painful.
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Cox: Schooling falls out
of the picture and
he goes right to work.
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He understands very early,
"I've gotta help.
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I've gotta help support
this family."
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Kalush: He went out
and did whatever it took
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when food needed
to be on the table,
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from selling flowers
to shining shoes,
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to selling papers
or being a messenger boy.
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Work became all important
and he was a workaholic
his whole life.
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Zenon: It probably gave him
that drive, that grit,
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and he was determined
to make himself into something.
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But that lack of education was
going to go on to haunt him.
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To help his son escape
the harsh reality
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of the poverty
they were living in now,
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Mayer Weisz took his son
to see a magic show.
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It was a particular trick
that Houdini remembered,
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00:06:38,240 --> 00:06:40,360
throughout the rest
of his life in fact.
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00:06:40,520 --> 00:06:43,760
Kalush: He saw Dr. Lynn,
who was a famous magician,
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00:06:43,920 --> 00:06:46,640
and he did an effect
called palingenesia,
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where it appeared
as though he took a knife
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00:06:48,720 --> 00:06:51,440
and cut the limbs off
of a living person
and then restored them.
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To a young,
clearly imaginative young boy,
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seeing somebody perform
this incredibly dark
and macabre act,
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it would have
just been captivating.
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It's going to fire
his imagination.
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It's going to be the thing
that he's talking about
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and will remember
for the rest of his life.
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Fishburne:
In one of the newly
released diary entries,
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Houdini recounts
the gruesome act.
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"I saw Dr. Lynn do it
30 years ago
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00:07:19,920 --> 00:07:22,760
when I was ten years of age
in Milwaukee, Wisconsin.
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He pretended
to use chloraform,
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and at the time
I really believed
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that the man's arm, leg,
and head were cut off."
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I think Dr. Lynn's
palingenisia
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00:07:33,320 --> 00:07:35,080
might have been quite
formative for Houdini.
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My own experiences,
when I was a kid
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I watched the "Twilight Zone"
and Alfred Hitchcock,
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and ever since,
I've wanted to do things
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that have to do
with life and death
and creepy stuff.
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So, I wouldn't be surprised
if Houdini said,
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"Hmm, I want to do that."
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Zenon: After Milwaukee,
Mayer Weisz moved the family
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to New York City
to look for work
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and it was almost as though
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that was the place
where the Houdini persona
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started to take shape
in young Erik.
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00:07:58,800 --> 00:08:00,760
Young Houdini's life
in New York
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was what really opened up
the possibilities to him.
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It was not until
he got to Manhattan
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00:08:06,320 --> 00:08:08,160
that I think
he suddenly looked up
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and saw the potential
of America
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and of making his name there.
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Cox: He becomes very, very
interested in athletics.
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That really is
a natural for him,
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for his competitive nature,
for his love
of physical fitness.
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He becomes a boxer.
He becomes a champion runner.
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His drive was more
like an athlete's drive
than an entertainer's,
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and it really starts
here in New York.
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Caveney: The great thing
about athletics is
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if you win that race,
you are the best,
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you are number one,
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and they give you
a little medal to prove it.
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Cuiffo:
I think that photograph of
Houdini with all the medals
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is very telling
of his earnest personality
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and desire for
acceptance and success
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and showing people that he was
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not just another one
of these nameless,
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faceless immigrants
running around the city.
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On closer examination,
some of them appear
to be genuine medals
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and some of them are
sort of milk bottle caps
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that he's fashioned
into medals.
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Cuiffo:
So not only did he have
the medals that he'd earned,
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and there were
quite a few of those,
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he'd had added a couple.
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He was a natural exaggerator.
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Clearly, Houdini wanted to
be bigger than life
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and he would do anything
towards that end.
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Fishburne: In 1889,
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a chance discovery
changes everything.
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Zenon: So the young Erik
in New York City stumbled
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across a book by
Robert‐Houdin,
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"The Memoirs
Of Robert‐Houdin,"
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and that seems to have been
a real turning point for him.
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It was about
a fully rounded character,
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00:09:45,280 --> 00:09:47,240
and that's what I think
inspired him to create his own.
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00:09:47,400 --> 00:09:50,760
Caveney: Robert‐Houdin
is known as the father
of modern magic.
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00:09:50,920 --> 00:09:52,160
He was one of
the first people
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to ever levitate
another human being.
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And Robert‐Houdin
levitated his little son,
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and he called it
the ethereal suspension.
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00:10:03,320 --> 00:10:05,560
And people believed it.
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00:10:05,720 --> 00:10:09,360
Robert‐Houdin said
that a magician is an actor
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00:10:09,520 --> 00:10:11,920
playing the part
of someone with real power.
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00:10:12,080 --> 00:10:14,360
Zenon: Houdini took this
on board I think
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00:10:14,520 --> 00:10:17,160
and realized that
he had to inhabit
the character 100 percent.
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00:10:17,320 --> 00:10:19,360
He had to be the character
he created.
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00:10:19,520 --> 00:10:21,400
Now that he'd got
the blueprint for the persona,
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00:10:21,560 --> 00:10:23,040
what he needed
was a name for it.
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00:10:26,920 --> 00:10:32,160
Cox: Erik Weisz gets a job
at H. Richters and Sons‐‐
a tie factory.
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00:10:32,320 --> 00:10:35,160
While he's working there,
he meets a friend, Jacob Hyman.
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00:10:35,320 --> 00:10:37,760
And the story goes
that it was Jacob who said,
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00:10:37,920 --> 00:10:42,960
"If you take the name Houdin
and add an I on to the end,
203
00:10:43,120 --> 00:10:45,600
in French that means
'like Houdin'."
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00:10:45,760 --> 00:10:47,160
And there it was.
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00:10:47,320 --> 00:10:50,960
There it was, the name
that you can never forget.
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00:10:51,120 --> 00:10:54,360
One of the reasons people
say his name so often
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00:10:54,520 --> 00:10:56,960
is because
it comes out so well.
208
00:10:57,120 --> 00:10:59,680
Houdini. Houdini.
209
00:11:01,920 --> 00:11:05,040
Lynch: Erik Weisz
made his own destiny
in becoming Houdini,
210
00:11:05,200 --> 00:11:08,080
and that was kind of
the first stage
in his transformation.
211
00:11:10,320 --> 00:11:13,520
Brandon: Erik Weisz
was the boy who worked
in a tie shop.
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00:11:13,680 --> 00:11:16,760
And Houdini was the result
of his decision
213
00:11:16,920 --> 00:11:18,960
that he was going to
express himself.
214
00:11:19,120 --> 00:11:21,200
He wasn't Erik Weisz.
He was Houdini.
215
00:11:23,920 --> 00:11:27,560
Fishburne:
Erik Weisz now has a
blueprint to change his life.
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00:11:27,720 --> 00:11:29,360
He decides to commit himself
217
00:11:29,520 --> 00:11:31,720
to the character
of Houdini completely,
218
00:11:31,880 --> 00:11:34,080
even if that means
leaving his true past
219
00:11:34,240 --> 00:11:36,880
and his real
birthplace behind.
220
00:11:37,040 --> 00:11:39,760
Cox: He always claimed
that he was an American,
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00:11:39,920 --> 00:11:44,160
because I think he felt
like he was a product
of this new America.
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00:11:44,320 --> 00:11:48,360
In his own words he says,
"Robert‐Houdin became
my hero and guide.
223
00:11:48,520 --> 00:11:50,160
This book became my gospel."
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00:11:50,320 --> 00:11:55,160
It gave him a path
to fame and fortune
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00:11:55,320 --> 00:11:57,880
and respectability
through magic.
226
00:11:58,040 --> 00:11:59,560
Brandon:
For a child like Houdini,
227
00:11:59,720 --> 00:12:02,240
who was extremely intelligent,
228
00:12:02,400 --> 00:12:03,760
who felt hemmed in,
if you like,
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00:12:03,920 --> 00:12:05,800
by his utter lack
of education,
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00:12:05,960 --> 00:12:08,400
there suddenly
was his road of escape.
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00:12:15,880 --> 00:12:19,040
Fishburne:
By 1891, Erik Weisz
has changed his name
232
00:12:19,200 --> 00:12:22,800
to Harry Houdini
and is mapping out a route
to the big time.
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00:12:22,960 --> 00:12:26,600
Houdini decides
to quit his very good job
at the tie factory
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00:12:26,760 --> 00:12:29,600
and go after the dream
of becoming a magician.
235
00:12:29,760 --> 00:12:31,800
And actually,
Jacob Hayman joins him
236
00:12:31,960 --> 00:12:34,760
and they form a partnership,
the Brothers Houdini.
237
00:12:36,640 --> 00:12:40,400
Where they could get work
at that time were dime museums.
238
00:12:40,560 --> 00:12:43,920
Culliton: The dime museums
were entry‐level show business.
239
00:12:44,080 --> 00:12:46,600
You paid your dime
and you went in,
240
00:12:46,760 --> 00:12:49,400
and there might be
Cardo the Magician
241
00:12:49,560 --> 00:12:52,800
doing his card manipulations
on one platform.
242
00:12:52,960 --> 00:12:57,560
On the next platform,
there might be a performer
who was eating fire.
243
00:12:57,720 --> 00:13:00,200
So, if the audience
lost interest in you,
244
00:13:00,360 --> 00:13:03,560
they would just drift
over to the fire‐eater
or the comedians.
245
00:13:03,720 --> 00:13:07,760
You get to do the same thing
over and over and over again.
246
00:13:07,920 --> 00:13:10,280
Sometimes, you know,
15, 20 times a day.
247
00:13:10,440 --> 00:13:13,600
If you've swallowed your needles
and regurgitated them threaded
248
00:13:13,760 --> 00:13:18,200
15 times a day for two years,
you're gonna get good at it.
249
00:13:20,280 --> 00:13:24,000
Fishburne:
While honing his skills
on the dime museum circuit,
250
00:13:24,160 --> 00:13:26,120
Houdini gets terrible news.
251
00:13:29,160 --> 00:13:33,200
So, Houdini was performing
in New York in 1892,
252
00:13:33,360 --> 00:13:37,520
when somebody ran up
and said, "Hey, magician,
your father's dying."
253
00:13:37,680 --> 00:13:40,000
Cuiffo: The story goes,
254
00:13:40,160 --> 00:13:42,400
his father was almost
waiting for Houdini.
255
00:13:42,560 --> 00:13:44,400
Everybody else
was gathered around the bed,
256
00:13:44,560 --> 00:13:48,000
and his father
made Houdini swear an oath
257
00:13:48,160 --> 00:13:49,880
to take care of his mother
258
00:13:50,040 --> 00:13:52,480
and take care of his family
after he passed away.
259
00:13:55,440 --> 00:13:57,800
Cox: Erik Weisz took
this very, very seriously,
260
00:13:57,960 --> 00:14:02,400
and spent the rest of his life
honoring that oath
261
00:14:02,560 --> 00:14:04,280
to take care of his mother.
262
00:14:04,440 --> 00:14:05,600
And that drove him.
263
00:14:05,760 --> 00:14:08,600
That drove him
his entire life.
264
00:14:08,760 --> 00:14:10,200
Zenon: There are countless
entries in the diaries
265
00:14:10,360 --> 00:14:11,880
about how much money
he's sending home.
266
00:14:12,040 --> 00:14:14,200
But the fact that he's writing
it down kind of suggests
267
00:14:14,360 --> 00:14:16,800
that he's almost
reassuring himself
268
00:14:16,960 --> 00:14:19,200
that he's doing
what he should do.
269
00:14:19,360 --> 00:14:21,200
Kalush: He's trying
to prove to himself
270
00:14:21,360 --> 00:14:24,200
that he's honoring
his commitment
to his passed father.
271
00:14:26,560 --> 00:14:28,000
Fishburne:
But at this point in his life,
272
00:14:28,160 --> 00:14:29,400
Houdini doesn't have the skills
273
00:14:29,560 --> 00:14:31,920
to become
a successful performer.
274
00:14:34,160 --> 00:14:38,640
Houdini was‐‐
like any other hack magician,
really, you know,
275
00:14:38,800 --> 00:14:43,400
he was playing in dime museums
trying to scrape a living.
276
00:14:43,560 --> 00:14:47,320
He's got no prospects,
and he's going to go,
potentially, broke.
277
00:14:47,480 --> 00:14:49,400
He goes back and lives
with his mother
278
00:14:49,560 --> 00:14:51,280
on the Upper East Side
in New York City.
279
00:14:51,440 --> 00:14:52,800
And he's desperate.
280
00:14:52,960 --> 00:14:54,720
He's willing to sell
his best secrets.
281
00:14:54,880 --> 00:14:57,960
He's willing
to sell anything he knows.
282
00:14:58,120 --> 00:15:00,000
And that doesn't work.
There's no real demand.
283
00:15:00,160 --> 00:15:04,000
Fishburne: By 1898,
the 24‐year‐old Houdini,
284
00:15:04,160 --> 00:15:08,360
now married to fellow
performer Bess Rahner,
is going nowhere.
285
00:15:10,360 --> 00:15:11,920
Yet within a year,
286
00:15:12,080 --> 00:15:14,560
he'll be the most famous
magician who's ever lived.
287
00:15:14,720 --> 00:15:15,680
But how?
288
00:15:20,760 --> 00:15:26,200
Around 1899,
Houdini has developed
or bought a new act,
289
00:15:26,360 --> 00:15:28,800
which was escaping
from handcuffs.
290
00:15:28,960 --> 00:15:33,160
He would challenge
the audience to bring
handcuffs to the theater,
291
00:15:33,320 --> 00:15:35,400
and he would
escape from them.
292
00:15:35,560 --> 00:15:38,800
It was kind
of Houdini's first step into
the world of escapology.
293
00:15:38,960 --> 00:15:42,000
The problem is not
many people own handcuffs.
294
00:15:42,160 --> 00:15:44,480
Then, very quick on his feet,
295
00:15:44,640 --> 00:15:46,000
he realized,
well, who has handcuffs?
296
00:15:46,160 --> 00:15:47,720
And he starts going
to the police departments.
297
00:15:47,880 --> 00:15:49,440
And he escapes from them,
298
00:15:49,600 --> 00:15:51,400
and this is a great
calling card for the show.
299
00:15:51,560 --> 00:15:56,200
Jillette:
"I defy the jails of
the world to hold me."
300
00:15:56,360 --> 00:16:00,600
It is a literal
celebration of freedom
301
00:16:00,760 --> 00:16:02,800
from all these people
who were, uh, you know,
302
00:16:02,960 --> 00:16:05,440
first‐generation Americans.
303
00:16:05,600 --> 00:16:10,400
Fishburne: As he arrives
to perform in Chicago in 1899,
304
00:16:10,560 --> 00:16:14,520
he has an idea that will
change his fortunes forever.
305
00:16:15,840 --> 00:16:18,600
He went to
the local police station
306
00:16:18,760 --> 00:16:22,240
and he challenged them
to lock him up.
307
00:16:22,400 --> 00:16:24,400
And he took
the press with him
308
00:16:24,560 --> 00:16:27,000
so that they could document
what happened.
309
00:16:27,160 --> 00:16:30,120
Kalush: He gets put
on the front page
of the Chicago paper
310
00:16:30,280 --> 00:16:34,960
with a drawing
of Houdini's face, which is
a stepping off point.
311
00:16:35,120 --> 00:16:38,800
Houdini immediately understood
how critical this was and
how important this was.
312
00:16:38,960 --> 00:16:41,400
Caveney:
The first time Houdini
saw his name and his picture
313
00:16:41,560 --> 00:16:43,200
on the front page
of a newspaper,
314
00:16:43,360 --> 00:16:46,600
this must have been
like a drug to him.
315
00:16:46,760 --> 00:16:52,000
The incident in Chicago
was arguably the greatest
turning point
316
00:16:52,160 --> 00:16:54,800
of his entire career
and created the blueprint
317
00:16:54,960 --> 00:16:58,080
of how his success
evolved from then on.
318
00:16:58,240 --> 00:17:02,400
Fishburne:
Just a few months later,
Houdini met a man
319
00:17:02,560 --> 00:17:05,600
who would launch him
into the big‐time.
320
00:17:05,760 --> 00:17:08,800
So, in St Paul, Minnesota,
Houdini met a man
321
00:17:08,960 --> 00:17:11,600
who was probably
the most influential person
322
00:17:11,760 --> 00:17:13,600
that he'd met in his life
up until that point,
323
00:17:13,760 --> 00:17:15,600
and maybe ever actually.
324
00:17:15,760 --> 00:17:17,000
His name was Martin Beck.
325
00:17:17,160 --> 00:17:20,400
Beck was
a vaudeville impresario
326
00:17:20,560 --> 00:17:23,200
and he ran
the Orpheum circuit.
327
00:17:23,360 --> 00:17:25,400
Caveney: So, Martin Beck
had a lot of clout,
328
00:17:25,560 --> 00:17:27,400
and he saw Houdini
and he did his magic tricks,
329
00:17:27,560 --> 00:17:29,520
but he also did his escapes.
330
00:17:29,680 --> 00:17:31,480
And he thought
that's something different.
That's interesting.
331
00:17:31,640 --> 00:17:33,600
So Beck said,
"Look, Houdini,
332
00:17:33,760 --> 00:17:36,800
I can put you into
the Orpheum Theatre chain.
333
00:17:36,960 --> 00:17:39,240
But forget about the magic.
Lose the magic.
334
00:17:39,400 --> 00:17:41,880
Just concentrate on escapes.
335
00:17:42,040 --> 00:17:44,600
Be the guy who can escape
from anything."
336
00:17:44,760 --> 00:17:50,200
Goodwin: The advice that Beck
gave Houdini in that moment
337
00:17:50,360 --> 00:17:52,880
was the thing that changed
the course of history.
338
00:18:00,640 --> 00:18:02,800
Fishburne:
By the summer of 1899,
339
00:18:02,960 --> 00:18:06,400
Houdini had been booked
to play a chain
of prestigious theaters
340
00:18:06,560 --> 00:18:08,280
all across
the west coast of America.
341
00:18:08,440 --> 00:18:11,000
And every time
he arrived somewhere new,
342
00:18:11,160 --> 00:18:13,600
Houdini makes a beeline
for the police station.
343
00:18:13,760 --> 00:18:16,000
Each time he would arrive
in a new city,
344
00:18:16,160 --> 00:18:18,600
he would go
to the police department
and challenge them.
345
00:18:18,760 --> 00:18:21,560
And of course, he made sure
the newspaper reporter
was with him.
346
00:18:23,360 --> 00:18:25,000
It was a great system
347
00:18:25,160 --> 00:18:27,760
to be able to walk
into a police department
348
00:18:27,920 --> 00:18:31,320
and walk out with
a front page newspaper story.
349
00:18:31,480 --> 00:18:34,640
Jillette: Houdini was
really, really good
350
00:18:34,800 --> 00:18:37,600
at getting people
to tell stories about him.
351
00:18:37,760 --> 00:18:41,400
Yeah, he was probably
352
00:18:41,560 --> 00:18:45,040
the first person
to really use the press
353
00:18:45,200 --> 00:18:47,680
in a way that would be
recognized today.
354
00:18:47,840 --> 00:18:52,600
Manipulating the press
corresponded with his rise
as a performer.
355
00:18:52,760 --> 00:18:55,520
They go hand in hand.
You can't have one
without the other.
356
00:18:57,720 --> 00:19:01,000
Fishburne:
By 1900, 26‐year‐old Houdini,
357
00:19:01,160 --> 00:19:04,400
the man who could escape
from anything, is a huge draw.
358
00:19:04,560 --> 00:19:07,520
And he's got a new strategy
for getting attention‐‐
359
00:19:07,680 --> 00:19:10,240
the legendary
Houdini challenges.
360
00:19:14,760 --> 00:19:18,400
The challenges are critical
to understanding Houdini.
361
00:19:18,560 --> 00:19:22,000
You can't understand Houdini
and his fame,
362
00:19:22,160 --> 00:19:24,240
why he's enduring
in our culture,
363
00:19:24,400 --> 00:19:25,800
you can't understand
any of those things
364
00:19:25,960 --> 00:19:27,200
if you don't understand
the challenges.
365
00:19:27,360 --> 00:19:29,800
Fishburne: In every town
where he plays,
366
00:19:29,960 --> 00:19:34,200
Houdini lets himself
be put to the test
in some new way.
367
00:19:34,360 --> 00:19:36,400
Zenon: In one case
it was a giant paper bag,
368
00:19:36,560 --> 00:19:38,000
which doesn't sound difficult
to get out of,
369
00:19:38,160 --> 00:19:39,800
but he had to do it
without tearing the bag.
370
00:19:39,960 --> 00:19:43,840
He would escape from inside
a giant American football.
371
00:19:44,000 --> 00:19:45,800
Lots of safes as well.
372
00:19:45,960 --> 00:19:49,400
I believe there
was one escape that he did
from a large dead whale.
373
00:19:49,560 --> 00:19:50,880
Goodwin: Escapes are
inherently boring,
374
00:19:51,040 --> 00:19:54,080
but the moment you put
a human element to it,
375
00:19:54,240 --> 00:19:55,800
now all of a sudden
there's stakes
376
00:19:55,960 --> 00:19:57,800
that the audience
can relate to,
377
00:19:57,960 --> 00:20:00,000
and they're gonna pick a side.
378
00:20:00,160 --> 00:20:01,680
"Who's gonna win,
Who do you want to win?"
379
00:20:01,840 --> 00:20:03,600
And it was really smart.
380
00:20:03,760 --> 00:20:06,800
Not only the things that
he was doing were, you know,
381
00:20:06,960 --> 00:20:09,200
unique, and so would
get new press attention.
382
00:20:09,360 --> 00:20:12,800
But at the same time,
was our town
383
00:20:12,960 --> 00:20:15,280
going to be the town
that beat Houdini?
384
00:20:15,440 --> 00:20:18,800
Fishburne:
There's only one problem.
385
00:20:18,960 --> 00:20:21,320
In all these
provincial towns,
386
00:20:21,480 --> 00:20:23,000
you might not have
enough people
387
00:20:23,160 --> 00:20:25,000
to volunteer
to do challenges
388
00:20:25,160 --> 00:20:27,200
or even to respond
to you to do challenges
389
00:20:27,360 --> 00:20:28,760
to keep the show up
every night.
390
00:20:30,360 --> 00:20:32,000
Fishburne: For years,
people have wondered
391
00:20:32,160 --> 00:20:34,000
how these challenges
came about.
392
00:20:34,160 --> 00:20:36,800
A lost diary entry
provides the answer.
393
00:20:36,960 --> 00:20:40,600
Writing about a show
in England, Houdini says,
in a kind of gibberish,
394
00:20:40,760 --> 00:20:43,200
"Friday challenge,
box built on stage.
395
00:20:43,360 --> 00:20:45,400
Had three men
of Burrows sawmill,
396
00:20:45,560 --> 00:20:47,400
same firm as last time.
397
00:20:47,560 --> 00:20:50,000
Gave the foreman Cockburn
pray pound.
398
00:20:50,160 --> 00:20:53,120
The other two men
received 'be quick'."
399
00:20:53,280 --> 00:20:56,600
Kalush: There's something
that I didn't understand
until reading the diaries,
400
00:20:56,760 --> 00:20:59,800
and that's that Houdini
would actually pay people
401
00:20:59,960 --> 00:21:02,160
to come up on stage
and challenge him.
402
00:21:02,320 --> 00:21:05,400
He would write it in
a secret code in his diary.
403
00:21:05,560 --> 00:21:10,200
I can't really explain
why he would only
put those bits in code.
404
00:21:10,360 --> 00:21:13,440
Maybe he just didn't like
the idea that he paid.
405
00:21:13,600 --> 00:21:16,200
Challenges were really
delivered to Houdini's door.
406
00:21:16,360 --> 00:21:18,800
He most often arranged
the challenge
407
00:21:18,960 --> 00:21:20,760
and then dramatized it.
408
00:21:22,960 --> 00:21:25,800
Fishburne:
Thanks to his formula,
Houdini becomes a sensation
409
00:21:25,960 --> 00:21:27,840
throughout
the United States and Europe.
410
00:21:28,000 --> 00:21:32,200
But it is in Russia that
the persona of Harry Houdini,
411
00:21:32,360 --> 00:21:35,000
the man who could escape
from any shackles,
412
00:21:35,160 --> 00:21:38,200
really sets fire
to the imagination.
413
00:21:38,360 --> 00:21:40,600
When Houdini gets to Russia,
he gets the idea
414
00:21:40,760 --> 00:21:42,720
to challenge
the police to escape
415
00:21:42,880 --> 00:21:45,720
from the Siberian
transport cell,
416
00:21:45,880 --> 00:21:51,000
which is the boxcar
that you get thrown in
and taken to Siberia.
417
00:21:51,160 --> 00:21:53,400
So, it has this lure
around it as the ultimate,
418
00:21:53,560 --> 00:21:55,680
ultimate, you're done for.
419
00:21:55,840 --> 00:21:58,200
Well, they lock Houdini in
and they're very diligent.
420
00:21:58,360 --> 00:22:01,000
They search him
in every possible place
you can imagine
421
00:22:01,160 --> 00:22:03,400
that could hide
any sort of implements.
422
00:22:03,560 --> 00:22:06,520
And they lock him in
and he escapes.
423
00:22:06,680 --> 00:22:11,200
The news of this
just went across the country
as fast as it could.
424
00:22:11,360 --> 00:22:13,600
Cuiffo: It immediately
transported him
425
00:22:13,760 --> 00:22:18,720
to the status of iconic
folk hero legend.
426
00:22:20,840 --> 00:22:23,000
The themes of his act
really were relatable
427
00:22:23,160 --> 00:22:25,600
no matter where
you were in the world.
428
00:22:25,760 --> 00:22:28,600
People in Russia
and people in the UK
429
00:22:28,760 --> 00:22:29,920
and people in America,
430
00:22:30,080 --> 00:22:32,600
they all wanted
to see somebody
431
00:22:32,760 --> 00:22:34,800
get one over on authority.
432
00:22:34,960 --> 00:22:37,400
They wanted to see
the underdog succeed,
433
00:22:37,560 --> 00:22:39,640
and those are
universal themes.
434
00:22:39,800 --> 00:22:42,800
He's now arguably
the most famous man in Russia.
435
00:22:42,960 --> 00:22:47,200
He's the most
famous person in Germany,
London, and America.
436
00:22:47,360 --> 00:22:52,720
He's dotting his way
to becoming the most famous
performer in the world.
437
00:22:55,960 --> 00:22:59,200
Fishburne:
In his diary, Houdini revels
in how he's treated by fans,
438
00:22:59,360 --> 00:23:01,800
and possibly embellishes
the details.
439
00:23:01,960 --> 00:23:05,200
He writes, "Was cheered
over and over again
as they sang,
440
00:23:05,360 --> 00:23:07,480
'And will you
no come back again.'"
441
00:23:07,640 --> 00:23:11,600
In another, he writes,
"Mob waited for me
and took me shoulder high.
442
00:23:11,760 --> 00:23:16,200
Carried me home and upstairs.
Had to make a speech
from the window."
443
00:23:16,360 --> 00:23:21,800
It just seems very odd that
the audience wouldn't go home,
444
00:23:21,960 --> 00:23:24,880
they would wait out
in front of the theater
for him to come out,
445
00:23:25,040 --> 00:23:29,880
and then pick him up
on their shoulders
and carry him to a hotel.
446
00:23:30,040 --> 00:23:33,080
It's just too much
for me to buy into.
447
00:23:33,240 --> 00:23:36,320
Brandon:
I think when Houdini
wrote in his diary,
448
00:23:36,480 --> 00:23:40,320
it was a part of
an ongoing fantasy life
that he had,
449
00:23:40,480 --> 00:23:46,720
and part of that fantasy
was an extreme exaggeration
of what went on.
450
00:23:46,880 --> 00:23:52,480
It was how Houdini would
have wanted reality to be,
so he wrote it down.
451
00:23:52,640 --> 00:23:55,480
Because if
it was in his diary,
maybe it happened.
452
00:23:55,640 --> 00:23:59,600
Maybe in his imagination
he was carried shoulder high
around the town.
453
00:23:59,760 --> 00:24:03,600
Caveney: I have to think
that he was writing these
454
00:24:03,760 --> 00:24:06,000
with the idea
that in the future
455
00:24:06,160 --> 00:24:07,720
other people are gonna
be reading this.
456
00:24:07,880 --> 00:24:13,360
And he wanted to make sure
that they knew how great he was.
457
00:24:13,520 --> 00:24:16,240
For Houdini,
it's all about legacy.
458
00:24:18,560 --> 00:24:21,760
Fishburne: By 1905,
the transformation
is complete.
459
00:24:21,920 --> 00:24:24,880
All traces of Erik Weisz
have been destroyed.
460
00:24:25,040 --> 00:24:28,000
The persona of Houdini
is a fresh start,
461
00:24:28,160 --> 00:24:33,080
a man without a past
he could build a legend around.
462
00:24:33,240 --> 00:24:35,640
When you get to the point
when you're as famous as Houdini
463
00:24:35,800 --> 00:24:38,560
and you have a narrative,
it was really important for him
that it was upheld.
464
00:24:38,720 --> 00:24:40,800
He knew the diaries
were gonna be found.
465
00:24:40,960 --> 00:24:43,800
If you know your narrative
will be told one day,
466
00:24:43,960 --> 00:24:45,320
why not try to control it
while you're alive?
467
00:24:45,480 --> 00:24:47,360
He wanted to be
the all‐American boy.
468
00:24:47,520 --> 00:24:53,320
That whole
self‐liberation thing
just maps right on
469
00:24:53,480 --> 00:24:55,720
to the way America saw itself.
470
00:24:55,880 --> 00:24:57,600
Erik Weisz might've been
born in Budapest,
471
00:24:57,760 --> 00:25:00,680
but wasn't Houdini born
in Appleton, Wisconsin?
472
00:25:10,680 --> 00:25:13,760
Fishburne: The 31‐year‐old
Houdini return
473
00:25:13,920 --> 00:25:16,960
to reclaim his position as
the country's greatest showman.
474
00:25:17,120 --> 00:25:20,160
And his diaries reveal
475
00:25:20,320 --> 00:25:21,960
he is prepared
to stop at nothing
476
00:25:22,120 --> 00:25:24,240
to keep his seat
on the throne.
477
00:25:26,920 --> 00:25:32,160
By about 1905,
Houdini was hugely
famous in Europe,
478
00:25:32,320 --> 00:25:35,840
but it came at the cost
of his fame in America.
479
00:25:36,000 --> 00:25:39,600
Problem was,
in the void of him being gone,
what happens?
480
00:25:39,760 --> 00:25:41,760
A lot of copycats
started to spring up,
481
00:25:41,920 --> 00:25:44,520
a lot of guys that
were trying to do his act,
482
00:25:44,680 --> 00:25:46,600
and there were even guys
that were copying his name.
483
00:25:46,760 --> 00:25:50,360
Goodwin: Everybody was the new
Houdini, Boudini, Moudini,
484
00:25:50,520 --> 00:25:54,160
all of the different
iterations of him.
485
00:25:54,320 --> 00:25:57,160
He showed up
at people's performances
and challenged them.
486
00:25:57,320 --> 00:26:01,760
Oh, really cleverly orchestrated
to make great little stories,
487
00:26:01,920 --> 00:26:04,560
but I wouldn't have wanted‐‐
I would not have argued
488
00:26:04,720 --> 00:26:06,360
with Houdini
over a parking spot.
489
00:26:06,520 --> 00:26:08,320
He was a scrappy
little mother.
490
00:26:10,120 --> 00:26:11,360
Fishburne:
In Houdini's lost diaries,
491
00:26:11,520 --> 00:26:14,560
for the first time
we find evidence
492
00:26:14,720 --> 00:26:16,960
of a secret plan
to destroy a fellow performer
493
00:26:17,120 --> 00:26:18,600
with calculated precision.
494
00:26:20,320 --> 00:26:23,160
"I'm going to make
a rival act for 'Minerva'
495
00:26:23,320 --> 00:26:26,160
so have advertised
for good swimmer females."
496
00:26:26,320 --> 00:26:29,960
Rehearsing Wanda Timm
in Rose's office
for the new act.
497
00:26:30,120 --> 00:26:33,360
Shall call her Oceana."
498
00:26:33,520 --> 00:26:37,160
Caveney: Minerva was
a female escape artist.
499
00:26:37,320 --> 00:26:39,280
Houdini wanted
the whole world to believe
500
00:26:39,440 --> 00:26:41,760
that he used
his superhuman strength
501
00:26:41,920 --> 00:26:45,680
and ability and cunning
to affect all of his escapes.
502
00:26:45,840 --> 00:26:49,160
Brandon: He was the symbol
of indestructible virility.
503
00:26:49,320 --> 00:26:51,480
So if some small woman
could do his act,
504
00:26:51,640 --> 00:26:55,760
that completely undermined
this whole aspect
of his character.
505
00:26:55,920 --> 00:26:58,720
He had to just
destroy her career.
506
00:26:58,880 --> 00:27:02,360
And one way to do that
was to find another woman
507
00:27:02,520 --> 00:27:05,200
that he could control
and build her up,
508
00:27:05,360 --> 00:27:08,160
give her the advertising
that she needed,
509
00:27:08,320 --> 00:27:11,160
and to get her in there
to destroy Minerva.
510
00:27:13,840 --> 00:27:16,160
Houdini was a battler,
he was a fighter,
511
00:27:16,320 --> 00:27:21,000
and that is a kind of person
I don't understand.
512
00:27:21,160 --> 00:27:24,560
My heart is not with him
on the jealousy
513
00:27:24,720 --> 00:27:27,200
and on the insecurity.
514
00:27:27,360 --> 00:27:32,840
That's just a part
of him that is sad
and I don't relate to.
515
00:27:33,000 --> 00:27:35,680
The only reason you could think
that he feels threatened
516
00:27:35,840 --> 00:27:37,480
by these guys is his ego.
517
00:27:37,640 --> 00:27:41,760
It wasn't enough
for Houdini to succeed.
518
00:27:41,920 --> 00:27:44,600
Everybody else had to fail.
519
00:27:47,320 --> 00:27:50,800
Fishburne: Houdini's vendetta
doesn't stop with his peers.
520
00:27:50,960 --> 00:27:55,160
In 1908, he turns
on the very man
521
00:27:55,320 --> 00:27:57,560
who gave him the blueprint
for his persona,
522
00:27:57,720 --> 00:27:59,160
Robert Houdin.
523
00:27:59,320 --> 00:28:02,360
There was a point in his career
where he was wealthy.
524
00:28:02,520 --> 00:28:04,360
He was famous
all over the world.
525
00:28:04,520 --> 00:28:07,360
So he achieved that goal.
So what's next?
526
00:28:07,520 --> 00:28:11,400
And I think for Houdini,
something that he longed to be
527
00:28:11,560 --> 00:28:15,760
was recognized
as a great scholar
and a great writer.
528
00:28:17,160 --> 00:28:19,760
Sandford:
He had a lifelong desire,
529
00:28:19,920 --> 00:28:22,080
almost a sort of
pathological one,
530
00:28:22,240 --> 00:28:25,800
to be accepted on
an intellectual level
531
00:28:25,960 --> 00:28:27,960
as a serious figure,
532
00:28:28,120 --> 00:28:30,920
as someone who was not
just physically agile
533
00:28:31,080 --> 00:28:32,760
and a clever stageman,
534
00:28:32,920 --> 00:28:36,480
but also who was worth
listening to.
535
00:28:38,200 --> 00:28:40,560
Zenon: And this probably
harks back to his his childhood
536
00:28:40,720 --> 00:28:42,320
when he had to give up
his education.
537
00:28:42,480 --> 00:28:44,760
His father had been
an academic,
538
00:28:44,920 --> 00:28:46,960
and it really riled him that
he didn't have that respect.
539
00:28:48,920 --> 00:28:51,880
Caveney: But you can't go back
and redo all those years
540
00:28:52,040 --> 00:28:53,240
of schooling that he missed.
541
00:28:53,400 --> 00:28:55,360
So he thought
the way to do this
542
00:28:55,520 --> 00:28:58,760
is to write
this very scholarly
history of magic.
543
00:28:58,920 --> 00:29:03,280
I think he thought,
"That will be the crowning
piece of my career."
544
00:29:03,440 --> 00:29:06,760
When Houdini got
the idea to write this
encyclopedia of magic,
545
00:29:06,920 --> 00:29:10,960
it was natural for him
to want to go visit
the source of it all,
546
00:29:11,120 --> 00:29:13,560
which would be the birthplace
of Robert‐Houdin,
547
00:29:13,720 --> 00:29:17,320
his namesake,
and attempt to see his family.
548
00:29:19,520 --> 00:29:22,560
Caveney: And he thinks
he is gonna be welcomed
with open arms.
549
00:29:22,720 --> 00:29:25,560
And they go,
"What? Houdini's here?
550
00:29:25,720 --> 00:29:28,080
So what?
What are we supposed to do?"
551
00:29:28,240 --> 00:29:29,480
And they didn't even
want to talk to him.
552
00:29:29,640 --> 00:29:32,160
His daughter gave him
the big brush‐off.
553
00:29:32,320 --> 00:29:34,240
She really wasn't interested.
554
00:29:34,400 --> 00:29:36,160
That was the one thing
he couldn't take.
555
00:29:36,320 --> 00:29:38,960
He couldn't bear
being dismissed.
556
00:29:39,120 --> 00:29:40,200
So, he got his own back.
557
00:29:42,520 --> 00:29:46,560
Cox: The Houdini approach
is to turn everything
into a wrestling match.
558
00:29:46,720 --> 00:29:48,560
Everything is a takedown.
Everything is a challenge.
559
00:29:48,720 --> 00:29:50,240
That's what the public likes.
560
00:29:50,400 --> 00:29:52,320
So, hey, how about combining
the history of magic
561
00:29:52,480 --> 00:29:56,200
with a takedown of
the most famous magician
of all time?
562
00:29:56,360 --> 00:29:58,680
That's a very Houdini
thing to do.
563
00:29:58,840 --> 00:30:02,120
Cuiffo:
He took on in full force
to kind of assassinate
564
00:30:02,280 --> 00:30:03,680
the character
of Robert‐Houdin,
565
00:30:03,840 --> 00:30:07,760
mainly by trying to show
that a lot of the effects
566
00:30:07,920 --> 00:30:12,360
and things
that Robert‐Houdin claimed
to be his were not his,
567
00:30:12,520 --> 00:30:15,360
were created by others
and stolen by Robert‐Houdin.
568
00:30:18,320 --> 00:30:22,760
Fishburne: Destroying
the legacy of his former hero
becomes an obsession.
569
00:30:22,920 --> 00:30:27,360
He writes,
"Wrote material for magicians'
biography all day.
570
00:30:27,520 --> 00:30:28,960
Did not even dress.
571
00:30:29,120 --> 00:30:32,360
Worked from 6 AM
to 12 midnight."
572
00:30:32,520 --> 00:30:35,560
In 1908,
Houdini releases his book,
573
00:30:35,720 --> 00:30:38,360
"The Unmasking
Of Robert‐Houdin."
574
00:30:38,520 --> 00:30:41,160
But his takedown backfires.
575
00:30:41,320 --> 00:30:43,480
Caveney: Not only was
the book saying Romero‐Houdin
576
00:30:43,640 --> 00:30:46,560
was not the father
of modern magic,
577
00:30:46,720 --> 00:30:48,960
but the tone of it
was just so intense.
578
00:30:49,120 --> 00:30:51,400
"The prince of pilferers,"
I think Houdini said.
579
00:30:51,560 --> 00:30:55,760
I think he hurt his argument
by being so intense.
580
00:30:55,920 --> 00:30:59,520
I do think this
was the biggest black eye
Houdini ever suffered.
581
00:30:59,680 --> 00:31:01,760
And if Houdini were here
with us today,
582
00:31:01,920 --> 00:31:03,240
I think he would agree.
583
00:31:05,320 --> 00:31:07,280
Kalush:
He had to show the world
how smart he was.
584
00:31:07,440 --> 00:31:11,760
And I think that
this was just his ego
crying out to say,
585
00:31:11,920 --> 00:31:13,600
"Look at me.
I'm also intelligent."
586
00:31:13,760 --> 00:31:17,960
I think it was
a shameful moment.
587
00:31:18,120 --> 00:31:21,040
Zenon: To further compound
his woes about the reaction
588
00:31:21,200 --> 00:31:22,760
to his "The Unmasking
Of Robert‐Houdin,"
589
00:31:22,920 --> 00:31:25,120
his ticket sales had started
to slow a bit as well.
590
00:31:27,640 --> 00:31:31,560
Terbosic: Harry's not playing
those big, big theaters
he was used to,
591
00:31:31,720 --> 00:31:34,200
and it might've been
because people were starting
592
00:31:34,360 --> 00:31:37,000
to kind of be tired
from his handcuff act.
593
00:31:37,160 --> 00:31:40,760
Fishburne: His lost diaries
reveal Houdini's anger
594
00:31:40,920 --> 00:31:44,480
at not making it
onto the posters for
a Cleveland performance.
595
00:31:44,640 --> 00:31:48,160
He writes,
"I did not want Ma
to come to theater
596
00:31:48,320 --> 00:31:51,960
as I was ashamed
to let her see the class
of show I was with."
597
00:31:52,120 --> 00:31:54,960
In another he writes,
"Am not featured.
598
00:31:55,120 --> 00:31:58,560
Is this week the first step
toward oblivion?"
599
00:31:58,720 --> 00:32:01,760
Goodwin: I think that
the diary entries really show
600
00:32:01,920 --> 00:32:04,360
that he understood
that he'd had the success,
601
00:32:04,520 --> 00:32:06,040
but it was slipping
out of his grasp.
602
00:32:06,200 --> 00:32:10,560
Houdini realized that
he had one of two options.
603
00:32:10,720 --> 00:32:12,760
He could either
reinvent himself,
604
00:32:12,920 --> 00:32:17,120
or he was on
the downward trajectory
of his career already.
605
00:32:26,120 --> 00:32:29,720
Fishburne: 1907.
The appeal of Harry Houdini
is faltering.
606
00:32:31,320 --> 00:32:33,360
Audiences are losing interest,
607
00:32:33,520 --> 00:32:36,680
so he needs to find a way
to win them back.
608
00:32:36,840 --> 00:32:40,720
The option he picks is
the most dangerous imaginable.
609
00:32:43,320 --> 00:32:48,360
The avenue that Houdini chose
in order to broaden
610
00:32:48,520 --> 00:32:52,360
the scope of his appeal
was jeopardy, was death.
611
00:32:52,520 --> 00:32:53,960
Cox:
Houdini himself would say,
612
00:32:54,120 --> 00:32:55,160
"Human beings
don't want to see
613
00:32:55,320 --> 00:32:56,640
another human being die,
614
00:32:56,800 --> 00:32:59,320
but they do love to be there
when it happens."
615
00:32:59,480 --> 00:33:04,160
Smart magicians
make life and death
a central part of magic.
616
00:33:04,320 --> 00:33:06,160
Dumb magicians don't.
617
00:33:06,320 --> 00:33:08,360
If all you're doing
is producing, you know,
618
00:33:08,520 --> 00:33:11,360
little bouquets and bunnies,
619
00:33:11,520 --> 00:33:14,760
you probably won't find
your way deeply into
the heart of the public.
620
00:33:17,920 --> 00:33:21,400
Goodwin:
His bridge jumps were really
the first introduction
621
00:33:21,560 --> 00:33:23,200
of danger and jeopardy
622
00:33:23,360 --> 00:33:25,960
into the Houdini cannon
of performance.
623
00:33:26,120 --> 00:33:29,360
He would go to a bridge,
highly publicized,
624
00:33:29,520 --> 00:33:31,320
surrounded by
thousands of people
625
00:33:31,480 --> 00:33:32,800
that were coming to see him.
626
00:33:32,960 --> 00:33:37,960
And he would be restrained
with handcuffs.
627
00:33:38,120 --> 00:33:41,760
And then he would jump
into the river below.
628
00:33:44,920 --> 00:33:47,440
Terbosic: There are said
to be 10,000 people
629
00:33:47,600 --> 00:33:49,560
on the banks of this river
and on this bridge
630
00:33:49,720 --> 00:33:51,560
to see Harry to do this jump
631
00:33:51,720 --> 00:33:54,000
and to do this crazy,
death‐defying escape.
632
00:33:54,160 --> 00:33:58,080
The thrill of watching
somebody live or pass,
633
00:33:58,240 --> 00:34:00,280
I mean, that's
a great story to have.
634
00:34:00,440 --> 00:34:03,960
Teller: What could be a more
perfect dramatic gesture
635
00:34:04,120 --> 00:34:08,640
than leaping off a bridge
in danger of drowning
because you're manacled,
636
00:34:08,800 --> 00:34:12,360
pausing, and then emerging
triumphant at the surface?
637
00:34:12,520 --> 00:34:14,960
It's a perfect symbol
of resurrection.
638
00:34:25,320 --> 00:34:27,560
Fishburne:
In a lost diary entry,
Houdini reveals
639
00:34:27,720 --> 00:34:30,600
that the bridge jumps were
not just to drive ticket sales,
640
00:34:30,760 --> 00:34:33,280
but to impress
the person he loved most.
641
00:34:35,800 --> 00:34:37,960
"Bridge jump and mother along.
642
00:34:38,120 --> 00:34:39,560
I wanted to have her with me,
643
00:34:39,720 --> 00:34:41,000
it being my first
big jump manacled.
644
00:34:41,160 --> 00:34:43,960
Ma saw me jump."
645
00:34:44,120 --> 00:34:47,400
The sentence
that haunts me most
646
00:34:47,560 --> 00:34:49,560
about Houdini and his mother
647
00:34:49,720 --> 00:34:53,160
is when he was doing
bridge jumps,
648
00:34:53,320 --> 00:34:55,680
and the entry he makes...
649
00:35:00,200 --> 00:35:02,480
...is, "Ma saw me jump."
650
00:35:03,720 --> 00:35:05,880
And I think about that a lot.
651
00:35:07,320 --> 00:35:11,760
It seems like,
at least in my experience,
652
00:35:11,920 --> 00:35:14,360
if you're a performer,
there is a sense in which
653
00:35:14,520 --> 00:35:17,000
you're always performing
for your parents.
654
00:35:20,120 --> 00:35:23,720
Terbosic:
Harry's mother Cecelia
was everything to Harry.
655
00:35:23,880 --> 00:35:25,360
I mean, he made an oath
with his dad
656
00:35:25,520 --> 00:35:28,080
that he would forever
look after his mother.
657
00:35:28,240 --> 00:35:33,200
And this moment in time
was to show his mom that
he'd done well for himself
658
00:35:33,360 --> 00:35:37,080
and lived up to what
he said he was going to.
659
00:35:37,240 --> 00:35:39,760
Teller:
He certainly idolized her.
660
00:35:39,920 --> 00:35:41,800
She was a very,
very formidable figure
661
00:35:41,960 --> 00:35:44,920
that he was spending his
entire life trying to impress.
662
00:35:45,080 --> 00:35:47,560
Fishburne:
However, in the same entry,
663
00:35:47,720 --> 00:35:51,360
Houdini writes, "I thought
something might happen."
664
00:35:51,520 --> 00:35:55,160
He knew that these jumps
could easily prove fatal.
665
00:35:55,320 --> 00:35:58,360
Goodwin: The bridge jumps
are without doubt,
666
00:35:58,520 --> 00:36:01,280
the most dangerous thing
that he ever performed.
667
00:36:01,440 --> 00:36:04,840
If you hit the water wrong
from thirty feet,
668
00:36:05,000 --> 00:36:08,760
then you could really, really
hurt yourself or even die.
669
00:36:08,920 --> 00:36:11,360
Obviously,
it's very difficult to swim
when you're restrained.
670
00:36:11,520 --> 00:36:12,760
There could be a current.
671
00:36:12,920 --> 00:36:14,000
There could be something
672
00:36:14,160 --> 00:36:15,400
underneath the surface
of the water
673
00:36:15,560 --> 00:36:17,240
that he's gonna hit
and spike himself on.
674
00:36:18,960 --> 00:36:21,760
Fishburne: A lost diary entry
Houdini made in 1910
675
00:36:21,920 --> 00:36:25,680
shows just how dangerous
these jumps actually were.
676
00:36:25,840 --> 00:36:28,360
"Dived 31 feet manacled.
677
00:36:28,520 --> 00:36:30,560
Jumped. Made a bad jump.
678
00:36:30,720 --> 00:36:32,400
Received a terrible
smash in the face
679
00:36:32,560 --> 00:36:35,360
from the water on right side
and knocked the wind out of me
680
00:36:35,520 --> 00:36:37,440
and gave me a swollen cheek.
681
00:36:37,600 --> 00:36:40,360
Goodwin:
What's really interesting
about the diary entry,
682
00:36:40,520 --> 00:36:42,760
you can tell that
that was something
that had scared him.
683
00:36:42,920 --> 00:36:46,200
He's really taking
his life in his hands.
684
00:36:46,360 --> 00:36:51,200
But at the same time,
he knew that that was a level
that he had to go to
685
00:36:51,360 --> 00:36:52,840
to make the public care.
686
00:36:53,000 --> 00:36:56,560
Up until this point,
the handcuff act,
687
00:36:56,720 --> 00:37:00,080
the stakes were
if Houdini fails, you know,
it's humiliation.
688
00:37:00,240 --> 00:37:03,560
But now the stakes
are life and death.
689
00:37:03,720 --> 00:37:04,960
Cuiffo: He's pushing
the boundaries
690
00:37:05,120 --> 00:37:06,800
of what a human body can do.
691
00:37:06,960 --> 00:37:12,320
So, that naturally lifted
his persona to another level.
692
00:37:12,480 --> 00:37:15,160
Zenon: Houdini was
transforming himself
693
00:37:15,320 --> 00:37:17,520
into a superhero,
a superman.
694
00:37:21,720 --> 00:37:25,960
But by 1909, he was kind
of being eclipsed by
a new type of daredevil.
695
00:37:26,120 --> 00:37:27,800
It was the early days
of aviation
696
00:37:27,960 --> 00:37:30,360
and there was
an obsession with it
pretty much worldwide.
697
00:37:30,520 --> 00:37:32,760
Lots of people doing it
and stealing the headlines,
698
00:37:32,920 --> 00:37:35,200
but it was still very,
very dangerous at that point.
699
00:37:38,320 --> 00:37:40,800
Kalush:
Flight had become
a topical thing,
700
00:37:40,960 --> 00:37:42,160
and it was quite magical.
701
00:37:42,320 --> 00:37:43,760
I mean, people want to fly.
702
00:37:43,920 --> 00:37:46,200
That's just, I think,
something that's in our nature.
703
00:37:46,360 --> 00:37:48,760
We all have something in us that
wants to be able to do that.
704
00:37:48,920 --> 00:37:50,880
So, people are rooting
for pilots.
705
00:37:53,920 --> 00:37:55,640
Caveney:
And I'm sure that
Houdini thought,
706
00:37:55,800 --> 00:37:58,520
"Hey, I should be getting
all that acclaim.
707
00:37:58,680 --> 00:38:00,560
Why aren't you paying
attention to me?"
708
00:38:00,720 --> 00:38:02,360
So, of course,
what does he do?
709
00:38:02,520 --> 00:38:04,680
He buys an airplane
and becomes a pilot.
710
00:38:06,720 --> 00:38:10,960
The very first pilots,
these were real daredevils.
711
00:38:11,120 --> 00:38:13,240
I mean, these guys
were dropping like flies.
712
00:38:13,400 --> 00:38:17,360
And there's lots of entries
in his diary that show almost‐‐
713
00:38:17,520 --> 00:38:18,960
you could say
it's almost morbid,
714
00:38:19,120 --> 00:38:20,600
but he would keep track
of people,
715
00:38:20,760 --> 00:38:23,720
and when they died,
he'd mark "dead."
716
00:38:25,520 --> 00:38:26,960
Caveney:
It does seem a little macabre
717
00:38:27,120 --> 00:38:28,760
that Houdini would
cut these pictures out
718
00:38:28,920 --> 00:38:31,280
and stick them in his diary,
719
00:38:31,440 --> 00:38:35,760
as if he was trying
to convince himself
of how dangerous this was,
720
00:38:35,920 --> 00:38:39,240
and if he could succeed,
721
00:38:39,400 --> 00:38:42,280
he has now beaten
all of these people
who died trying.
722
00:38:44,920 --> 00:38:46,120
Zenon: His first flight
was a disaster.
723
00:38:46,280 --> 00:38:47,520
He crashed quite badly.
724
00:38:47,680 --> 00:38:48,960
Although I think
it's quite telling
725
00:38:49,120 --> 00:38:50,320
that in
the diary entry for that
726
00:38:50,480 --> 00:38:51,760
he talks about
the cost of the crash
727
00:38:51,920 --> 00:38:53,680
rather than
the risk to his life.
728
00:38:55,240 --> 00:38:56,120
Fishburne: "Smashed machine,
729
00:38:56,280 --> 00:38:58,360
broke propeller all to hell.
730
00:38:58,520 --> 00:39:02,520
Have now paid 12,000 marks
on machine biplane."
731
00:39:02,680 --> 00:39:05,160
Houdini's entire life
732
00:39:05,320 --> 00:39:09,360
was built around
his being able to do
733
00:39:09,520 --> 00:39:12,160
any exploit
better than anyone else.
734
00:39:12,320 --> 00:39:15,760
So, how could he possibly
allow himself not to be
735
00:39:15,920 --> 00:39:18,960
the first person
to break a flying record?
736
00:39:20,800 --> 00:39:24,360
Caveney: So, it's like Houdini
had to find a country
737
00:39:24,520 --> 00:39:26,360
where no one had flown
an airplane yet.
738
00:39:26,520 --> 00:39:28,960
It didn't matter
which one it was,
739
00:39:29,120 --> 00:39:32,160
but Australia is the one
that was available.
740
00:39:32,320 --> 00:39:34,280
So, off he went.
741
00:39:34,440 --> 00:39:37,760
Fishburne: In January 1910,
Houdini, his wife,
742
00:39:37,920 --> 00:39:39,760
and his precious
French biplane
743
00:39:39,920 --> 00:39:43,760
board a steamer and sail
to Melbourne, Australia.
744
00:39:43,920 --> 00:39:46,960
The shock when Houdini got there
was that various people
745
00:39:47,120 --> 00:39:49,640
are also trying for this prize
to be the first, you know?
746
00:39:49,800 --> 00:39:52,160
Caveney:
This drove Houdini crazy.
747
00:39:52,320 --> 00:39:53,960
He'd spent a lot of
money and a lot of time
748
00:39:54,120 --> 00:39:56,360
and a lot of effort
to own that crown,
749
00:39:56,520 --> 00:39:58,280
and now he was on
the verge of losing it.
750
00:40:01,320 --> 00:40:02,880
Fishburne:
From Houdini's diary,
751
00:40:03,040 --> 00:40:05,000
we learned how almost
immediately after arriving,
752
00:40:05,160 --> 00:40:07,560
his competitor Ralph Banks
753
00:40:07,720 --> 00:40:10,760
experiences
a terrifying crash.
754
00:40:10,920 --> 00:40:15,360
He writes,
"Came down after a terrible
dive, head first.
755
00:40:15,520 --> 00:40:16,960
Banks escaped
with a blackened eye,
756
00:40:17,120 --> 00:40:19,360
torn lips,
and a scratched limb.
757
00:40:19,520 --> 00:40:21,440
'Twas a miraculous escape."
758
00:40:21,600 --> 00:40:23,080
Caveney: What I take
from that diary entry
759
00:40:23,240 --> 00:40:26,160
is that Houdini saw this
as a great opportunity.
760
00:40:26,320 --> 00:40:30,640
The door was cracked open,
and he still had the
opportunity to be first.
761
00:40:30,800 --> 00:40:33,160
The only thing that
would've made him happier
762
00:40:33,320 --> 00:40:36,040
is if Ralph Banks had crashed
and killed himself.
763
00:40:41,080 --> 00:40:45,960
Fishburne: Two weeks later,
Houdini manages to beat
Banks to the prize.
764
00:40:46,120 --> 00:40:48,160
His diary records
his delight.
765
00:40:48,320 --> 00:40:49,960
"First real flight
in Australia.
766
00:40:50,120 --> 00:40:51,560
I went up three times.
767
00:40:51,720 --> 00:40:54,560
Never in any fear
and never in any danger."
768
00:40:54,720 --> 00:40:58,360
Caveney: I don't know
how much effect that first
flight in Australia
769
00:40:58,520 --> 00:41:00,120
had elsewhere in the world,
770
00:41:00,280 --> 00:41:03,160
because all over the world
there were people
771
00:41:03,320 --> 00:41:06,360
who were the first to fly
in that country.
772
00:41:06,520 --> 00:41:11,160
He had to figure out
other ways to keep his name
in the headlines.
773
00:41:11,320 --> 00:41:14,240
And of course,
when you're doing things
that are death‐defying,
774
00:41:14,400 --> 00:41:17,160
you have to keep
upping the ante.
775
00:41:17,320 --> 00:41:20,120
And that's a slippery slope
to be trapped on.
776
00:41:28,320 --> 00:41:32,200
Fishburne:
In 1916, determined
to cement his persona
777
00:41:32,360 --> 00:41:33,920
as the greatest showman
who ever lived,
778
00:41:34,080 --> 00:41:36,400
the 42‐year‐old Houdini
779
00:41:36,560 --> 00:41:39,400
unleashes his masterpiece
to the world‐‐
780
00:41:39,560 --> 00:41:43,200
a highly potent
combination of danger,
jeopardy, and drama
781
00:41:43,360 --> 00:41:47,640
that is still today
perhaps the most iconic image
in magic history.
782
00:41:47,800 --> 00:41:51,800
The aerial straitjacket escape.
783
00:41:51,960 --> 00:41:54,000
Teller: Houdini figured out
how to take what could be
a crappy little trick,
784
00:41:54,160 --> 00:41:56,200
which is getting out
of a straitjacket,
785
00:41:56,360 --> 00:41:57,960
and figured out
how to make that
786
00:41:58,120 --> 00:42:00,680
into a gigantic
outdoor spectacle.
787
00:42:00,840 --> 00:42:03,760
There is nothing
like that image,
788
00:42:03,920 --> 00:42:08,360
just a man upside down
hung by his ankles,
789
00:42:08,520 --> 00:42:11,000
holding this restraint before
he drops it to the ground.
790
00:42:11,160 --> 00:42:14,720
It's like the Mona Lisa.
It's a one of a kind.
791
00:42:17,000 --> 00:42:20,480
Teller: I have a photograph
of Houdini escaping
792
00:42:20,640 --> 00:42:23,240
from a straitjacket
upside down.
793
00:42:23,400 --> 00:42:26,360
The traffic is
completely stopped.
794
00:42:26,520 --> 00:42:27,760
There's no room
for a car to move,
795
00:42:27,920 --> 00:42:29,960
but there is
one car in place.
796
00:42:30,120 --> 00:42:33,360
And that car
has on the top of it
797
00:42:33,520 --> 00:42:38,560
a 15‐year‐old boy leaning
on his elbow like this
798
00:42:38,720 --> 00:42:43,160
and gazing up at what
is obviously an iconic hero.
799
00:42:43,320 --> 00:42:47,160
There is a look in that
of pure love
800
00:42:47,320 --> 00:42:49,080
and pure identification.
801
00:42:49,240 --> 00:42:52,360
The kind of thing
that we often see nowadays
802
00:42:52,520 --> 00:42:54,800
with great football players,
803
00:42:54,960 --> 00:42:58,760
he was able to pull
that out of people
804
00:42:58,920 --> 00:43:01,560
doing what was
essentially a magic act.
805
00:43:01,720 --> 00:43:02,880
That's a miracle.
806
00:43:09,520 --> 00:43:11,560
Fishburne:
Houdini takes the most
dangerous path imaginable
807
00:43:11,720 --> 00:43:14,760
to win back the adoration
of the crowd.
808
00:43:14,920 --> 00:43:16,160
But the more daring
he becomes,
809
00:43:16,320 --> 00:43:19,080
the more
his audience expects.
810
00:43:23,920 --> 00:43:25,760
Houdini had found a niche
811
00:43:25,920 --> 00:43:28,880
in adding danger
into his performances.
812
00:43:29,040 --> 00:43:32,840
There were thousands
of people there
to see him risk his life.
813
00:43:33,000 --> 00:43:38,360
And I guarantee
that the thought process
from that moment was,
814
00:43:38,520 --> 00:43:42,160
"Okay, this is great,
but how do I bring this
on stage?
815
00:43:42,320 --> 00:43:44,280
How can I bring all
of the elements
816
00:43:44,440 --> 00:43:47,960
that I get from
the bridge jump into my show?"
817
00:43:48,120 --> 00:43:50,360
And so,
that was his challenge.
818
00:43:50,520 --> 00:43:53,560
A lot of Houdini's escapes
and stunts revolved around
the theme of water.
819
00:43:53,720 --> 00:43:55,360
He almost had
an obsession with water.
820
00:43:55,520 --> 00:43:58,760
Having been
a championship swimmer
when he was younger,
821
00:43:58,920 --> 00:44:00,680
there was the manacled
bridge jumps into the river.
822
00:44:00,840 --> 00:44:02,360
Then he started
doing it on stage
823
00:44:02,520 --> 00:44:04,920
padlocked inside
a milk churn full of water.
824
00:44:07,720 --> 00:44:10,760
But the ultimate one was
the Chinese water torture cell.
825
00:44:10,920 --> 00:44:12,640
And the great thing
about this was the visual.
826
00:44:12,800 --> 00:44:14,600
For one,
it made a perfect poster.
827
00:44:16,320 --> 00:44:17,640
Teller:
It's a nightmare image.
828
00:44:17,800 --> 00:44:20,360
It's a great, great,
great nightmare image.
829
00:44:20,520 --> 00:44:23,760
If I walked by a theater
and saw a poster
830
00:44:23,920 --> 00:44:26,200
with that image,
I would buy a ticket.
831
00:44:26,360 --> 00:44:30,760
Tersebic:
It really was like a human
sacrifice for the gods.
832
00:44:30,920 --> 00:44:32,720
Cox: It looked like
a torture device.
833
00:44:32,880 --> 00:44:37,880
Some crazy despot's idea
of what to do with Christians.
834
00:44:38,040 --> 00:44:41,440
Instead of feeding
them to the lions,
drop 'em in this tank.
835
00:44:45,320 --> 00:44:48,840
Tersebic: Doing
the water torture cell escape
is extremely dangerous.
836
00:44:49,000 --> 00:44:52,040
It's essentially
a glass coffin onstage.
837
00:44:54,320 --> 00:44:57,360
He would have an apparatus
of shackles
838
00:44:57,520 --> 00:45:00,760
that would come
to attach around his ankles.
839
00:45:00,920 --> 00:45:02,960
They could slowly
on his command
840
00:45:03,120 --> 00:45:05,440
lower him down
into the icy water.
841
00:45:05,600 --> 00:45:09,960
And the minute
they start dipping you down
into that water,
842
00:45:10,120 --> 00:45:13,560
your whole body is
now flooding with endorphins.
843
00:45:13,720 --> 00:45:15,560
The adrenaline is rushing.
844
00:45:15,720 --> 00:45:18,160
And at the same time
you want to remain calm
845
00:45:18,320 --> 00:45:20,160
because you're still
controlling your breathing.
846
00:45:20,320 --> 00:45:23,640
So you don't want the moment
to get the best of you.
847
00:45:25,920 --> 00:45:28,760
Teller:
So, already, in your mind
as an audience member,
848
00:45:28,920 --> 00:45:30,960
you're seeing this
incredible dramatic moment
849
00:45:31,120 --> 00:45:33,040
when Houdini's in there
struggling and drowning.
850
00:45:35,120 --> 00:45:36,760
Zenon: The genius
bit of showmanship
851
00:45:36,920 --> 00:45:38,960
was asking the audience
to hold their breath with him.
852
00:45:39,120 --> 00:45:42,160
So, you're kind of
invested emotionally.
853
00:45:42,320 --> 00:45:44,760
Goodwin: Franz Kukol was
his main assistant at the time,
854
00:45:44,920 --> 00:45:47,160
and he would stand
clutching an axe,
855
00:45:47,320 --> 00:45:48,920
increasingly agitated,
856
00:45:49,080 --> 00:45:52,160
as a giant stopwatch
ticked down the seconds
857
00:45:52,320 --> 00:45:54,040
that Houdini was underwater.
858
00:45:54,200 --> 00:45:56,240
And all over the audience
you could hear people going...
859
00:45:56,400 --> 00:45:58,960
( exhaling )
860
00:45:59,120 --> 00:46:00,360
...as they ran out of air.
861
00:46:00,520 --> 00:46:01,760
Three minutes, four minutes.
862
00:46:01,920 --> 00:46:03,240
How‐‐ this is impossible.
863
00:46:03,400 --> 00:46:06,120
He's some kind of,
you know, superhuman.
864
00:46:06,280 --> 00:46:08,560
And some guy comes in
with an axe and breaks it.
865
00:46:08,720 --> 00:46:11,160
And the glass explodes
and the water explodes,
866
00:46:11,320 --> 00:46:12,600
and all of this is happening.
867
00:46:12,760 --> 00:46:14,160
It never happened, mind you,
868
00:46:14,320 --> 00:46:16,680
but this has now
happened in your head.
869
00:46:16,840 --> 00:46:19,960
And just at the point
where everybody thought,
870
00:46:20,120 --> 00:46:22,360
"Well, that must be it.
He's he's a goner.
871
00:46:22,520 --> 00:46:23,760
He's gotta be dead in there."
872
00:46:23,920 --> 00:46:25,560
Houdini would whip back
the curtain,
873
00:46:25,720 --> 00:46:29,000
completely drenched,
out of breath, but succeeded.
874
00:46:29,160 --> 00:46:31,920
And the crowd went wild.
875
00:46:37,360 --> 00:46:38,960
Out of Houdini's
whole repertoire,
876
00:46:39,120 --> 00:46:41,800
the kind of two
iconic images really
877
00:46:41,960 --> 00:46:44,600
are the suspended
straitjacket escape
878
00:46:44,760 --> 00:46:47,160
and the dangling upside down
in the water torture cell.
879
00:46:47,320 --> 00:46:51,520
Those two images, oddly enough,
would secure his legacy.
880
00:46:51,680 --> 00:46:54,560
So, he's escaped
from everything you
can imagine escaping from,
881
00:46:54,720 --> 00:46:57,280
and there's only one thing
that you can't escape from.
882
00:47:01,320 --> 00:47:02,760
Fishburne:
His diaries offer evidence
883
00:47:02,920 --> 00:47:06,160
that death is already
on Houdini's mind.
884
00:47:06,320 --> 00:47:10,960
He writes,
"Ma, Bess, and I go to
the photographers Gulekurst
885
00:47:11,120 --> 00:47:12,960
and have our photos taken‐‐
886
00:47:13,120 --> 00:47:15,360
I hope not
the last time together.
887
00:47:15,520 --> 00:47:18,840
Who knows? The old must die
and the young can."
888
00:47:22,520 --> 00:47:25,240
Cuiffo: That diary entry
is very interesting in‐‐
889
00:47:25,400 --> 00:47:29,160
one, in the fact that
it's Houdini really expressing
a lot of emotion,
890
00:47:29,320 --> 00:47:31,000
which again,
up to that point,
891
00:47:31,160 --> 00:47:34,960
his writings are very practical
and scientific in a way.
892
00:47:35,120 --> 00:47:39,760
And perhaps it's part of
his process of his awareness
of life moving on,
893
00:47:39,920 --> 00:47:43,040
and he's coming to
a new phase in his life
894
00:47:43,200 --> 00:47:45,400
and knows that his mother
is going to die.
895
00:47:45,560 --> 00:47:48,160
Kalush: You do think
of these things.
896
00:47:48,320 --> 00:47:50,760
What would I do
without this person?
897
00:47:50,920 --> 00:47:53,280
And I think Houdini
thought of that quite often,
898
00:47:53,440 --> 00:47:55,560
because she was
a very central point
to the family.
899
00:47:55,720 --> 00:47:57,960
Caveney:
After Houdini's father died,
900
00:47:58,120 --> 00:48:00,560
he became
the head of the house.
901
00:48:00,720 --> 00:48:02,960
And with this oath
to take care of his mother,
902
00:48:03,120 --> 00:48:05,360
he's starting to
see her getting frailer,
903
00:48:05,520 --> 00:48:09,480
and we can see it
in photographs of her
at that time.
904
00:48:09,640 --> 00:48:12,160
Fishburne:
In August 1913,
905
00:48:12,320 --> 00:48:14,480
Houdini boards
a ship for Denmark.
906
00:48:14,640 --> 00:48:16,560
"The gang plank
was pulled away,
907
00:48:16,720 --> 00:48:17,960
and we started in
to throw those
908
00:48:18,120 --> 00:48:19,760
long paper
colored strips overboard
909
00:48:19,920 --> 00:48:21,960
to the folks onto the pier.
910
00:48:22,120 --> 00:48:25,400
Ma caught a few of them
that I threw adroitly to her,
911
00:48:25,560 --> 00:48:27,720
and eventually
we steamed away,
912
00:48:27,880 --> 00:48:29,760
and that was
the last sight I saw
913
00:48:29,920 --> 00:48:32,440
of my darling mother alive."
914
00:48:32,600 --> 00:48:37,560
Cox: His mother had a stroke
while he was on the ship
915
00:48:37,720 --> 00:48:40,520
and his brother
sent telegrams.
916
00:48:40,680 --> 00:48:42,360
And when he finally opened
the telegram and read
917
00:48:42,520 --> 00:48:45,200
that his mother had died,
he fainted.
918
00:48:51,720 --> 00:48:53,360
He canceled a contract.
919
00:48:53,520 --> 00:48:57,280
He got right back on the ship
and went home.
920
00:49:01,240 --> 00:49:02,400
Cuiffo:
The story about sitting
921
00:49:02,560 --> 00:49:04,880
by his mother's bedside
was legendary.
922
00:49:05,040 --> 00:49:08,560
This is probably
the closest account
we have of him
923
00:49:08,720 --> 00:49:11,360
facing real death of somebody
who he really loved
924
00:49:11,520 --> 00:49:13,640
in a way that
he didn't love anybody else.
925
00:49:13,800 --> 00:49:18,760
Fishburne: That night, Houdini
places a gift by his mother
926
00:49:18,920 --> 00:49:21,960
and writes,
"She looked so dainty
and restful,
927
00:49:22,120 --> 00:49:23,960
only a small spot
on her cheek,
928
00:49:24,120 --> 00:49:25,560
and the face which haunted me
929
00:49:25,720 --> 00:49:28,760
with love all of my life
is still and quiet.
930
00:49:28,920 --> 00:49:30,520
And when she does
not answer me,
931
00:49:30,680 --> 00:49:33,360
I know that God
has taken her to his bosom
932
00:49:33,520 --> 00:49:38,880
and given her the peace
which she denied herself
on this Earth."
933
00:49:39,040 --> 00:49:42,120
Some of the prose
in that diary entry about,
934
00:49:42,280 --> 00:49:46,360
you know, I'm sure
she's peaceful in heaven
and all of that sort of stuff,
935
00:49:46,520 --> 00:49:48,960
is less powerful to me
than the fact
936
00:49:49,120 --> 00:49:52,360
that he brought home
a pair of slippers
937
00:49:52,520 --> 00:49:55,760
that she had requested
before he left
938
00:49:55,920 --> 00:49:59,880
so that he could put
those slippers in
the coffin with her.
939
00:50:01,320 --> 00:50:03,240
It's very touching.
It's very touching.
940
00:50:06,920 --> 00:50:09,360
Brandon:
Once his mother has died,
941
00:50:09,520 --> 00:50:12,080
he really starts to question
his place in the world.
942
00:50:13,720 --> 00:50:15,760
That anchor that drove him
for so many years
943
00:50:15,920 --> 00:50:17,760
to provide for her
and achieve success
944
00:50:17,920 --> 00:50:21,560
and fulfill the oath
of his father was now gone.
945
00:50:21,720 --> 00:50:23,360
In a sense,
he had fulfilled it.
946
00:50:23,520 --> 00:50:27,200
But now here he is
facing the question,
what's next?
947
00:50:29,520 --> 00:50:33,160
Fishburne: As he turns 50,
his life is at a turning point.
948
00:50:33,320 --> 00:50:36,560
His beloved mother is gone
and his diaries reveal
949
00:50:36,720 --> 00:50:39,080
his body is beginning
to fail, too.
950
00:50:39,240 --> 00:50:43,840
The pursuit of immortality
is taking its toll.
951
00:50:44,000 --> 00:50:47,960
He writes,
"Dr. Parsons examines
my body and ankle.
952
00:50:48,120 --> 00:50:50,200
Claims I am in danger
of death."
953
00:50:53,320 --> 00:50:54,360
Zenon:
His body's not holding out,
954
00:50:54,520 --> 00:50:55,960
he's got a lot of injuries,
955
00:50:56,120 --> 00:50:57,760
and his escape career
kind of feels as though
956
00:50:57,920 --> 00:50:59,680
it's behind him now
pretty much.
957
00:50:59,840 --> 00:51:01,360
So he's got to find
something new.
958
00:51:01,520 --> 00:51:04,360
He's not a guy
to just lie down
and take it, you know?
959
00:51:04,520 --> 00:51:06,720
It's as though
he needs a new challenge.
960
00:51:13,800 --> 00:51:16,320
Fishburne: By 1920,
50‐year‐old Houdini
961
00:51:16,480 --> 00:51:20,120
is about to undertake
the greatest challenge
of his life.
962
00:51:20,280 --> 00:51:26,000
He wages war against
the new scourge sweeping
the nation‐‐ spiritualism.
963
00:51:32,680 --> 00:51:35,240
Zenon: In its most basic form,
spiritualism is a belief
964
00:51:35,400 --> 00:51:37,400
that you can communicate
with the dead.
965
00:51:37,560 --> 00:51:40,800
Cox: Spiritualism has
this tremendous resurgence
in the 1920s,
966
00:51:40,960 --> 00:51:43,360
especially
after World War I.
967
00:51:43,520 --> 00:51:46,720
Fishburne:
With millions dead,
families are desperate
968
00:51:46,880 --> 00:51:48,920
to speak to their
lost loved ones,
969
00:51:49,080 --> 00:51:52,720
and a new breed
of performer emerges,
the medium,
970
00:51:52,880 --> 00:51:56,640
a person who claims they can
commune with the dead.
971
00:51:56,800 --> 00:52:00,520
Spiritualism at the time is‐‐
972
00:52:00,680 --> 00:52:02,840
it's a combination
of a lot of things.
973
00:52:03,000 --> 00:52:06,520
It is without a doubt
a religion.
974
00:52:06,680 --> 00:52:09,920
And at the same time,
it is organized crime.
975
00:52:10,080 --> 00:52:12,240
At the same time,
it is fraud.
976
00:52:12,400 --> 00:52:17,120
But spiritualists
were not just wrong.
977
00:52:17,280 --> 00:52:18,920
They were really immoral.
978
00:52:21,600 --> 00:52:25,480
Cox: Houdini was
very conflicted over
the question of spiritualism.
979
00:52:25,640 --> 00:52:27,760
He wasn't an
out and out skeptic.
980
00:52:27,920 --> 00:52:31,120
Zenon: He didn't really
believe that you could
communicate with the dead.
981
00:52:31,280 --> 00:52:35,320
However, he would've given
anything to be able to contact
his mother after she died.
982
00:52:35,480 --> 00:52:37,720
Brandon: But every time
he approached someone
983
00:52:37,880 --> 00:52:40,360
who claimed
to be able to do that,
984
00:52:40,520 --> 00:52:42,720
it was always crass rubbish
985
00:52:42,880 --> 00:52:45,920
and he could see
how the tricks were done.
986
00:52:46,080 --> 00:52:48,320
Fishburne:
Desperate to find out
the truth for himself,
987
00:52:48,480 --> 00:52:51,520
Houdini embarks
on his own investigation.
988
00:52:51,680 --> 00:52:55,720
Cox:
I think he thought this was
a great intellectual pursuit.
989
00:52:55,880 --> 00:52:57,920
But actually,
Harry Houdini was entering
990
00:52:58,080 --> 00:53:02,160
into probably the most
dangerous part of his career.
991
00:53:02,320 --> 00:53:05,320
Zenon: In 1920,
he decided to reignite
992
00:53:05,480 --> 00:53:08,440
his literary ambitions
by writing a book
about spiritualism.
993
00:53:08,600 --> 00:53:10,280
And it's possibly
an odd choice,
994
00:53:10,440 --> 00:53:12,720
bearing in mind how badly
he got burnt after writing
995
00:53:12,880 --> 00:53:16,080
"The Unmasking
of Robert‐Houdin"
a few years previously.
996
00:53:16,240 --> 00:53:18,920
Houdini reached out
to Arthur Conan Doyle,
997
00:53:19,080 --> 00:53:21,440
who was kind of spiritualism's
leading light, really,
998
00:53:21,600 --> 00:53:23,880
the main advocate
if you will.
999
00:53:24,040 --> 00:53:25,560
He was very famous
at the time,
1000
00:53:25,720 --> 00:53:27,760
being the author of
Sherlock Holmes, obviously.
1001
00:53:27,920 --> 00:53:30,520
He had a very
keen antennae always
1002
00:53:30,680 --> 00:53:32,840
for any sort of
celebrity endorsement.
1003
00:53:36,080 --> 00:53:38,840
Cox:
Lady Doyle was holding
her own seances
1004
00:53:39,000 --> 00:53:43,480
and ostensibly building
her own powers
of psychic ability.
1005
00:53:43,640 --> 00:53:45,120
Kalush:
She was an automatic writer.
1006
00:53:45,280 --> 00:53:48,120
That meant she went
into a sort of a trance.
1007
00:53:48,280 --> 00:53:51,520
Sandford: A pen in her hand
would appear to flow
1008
00:53:51,680 --> 00:53:55,960
across a piece of paper
with words that were not hers
1009
00:53:56,120 --> 00:53:59,320
but that she was receiving
from an unseen entity.
1010
00:54:02,840 --> 00:54:05,720
Fishburne:
By way of introduction,
Houdini sends Conan Doyle
1011
00:54:05,880 --> 00:54:08,080
"The Unmasking
of Robert‐Houdin."
1012
00:54:08,240 --> 00:54:11,880
And within a month,
Doyle invites him to visit.
1013
00:54:15,080 --> 00:54:19,520
Cox: Doyle said,
"Listen, I agree with you
that there's fraud,
1014
00:54:19,680 --> 00:54:21,320
but I've found
the real thing."
1015
00:54:21,480 --> 00:54:22,760
Houdini was excited.
1016
00:54:22,920 --> 00:54:24,520
Fishburne:
Houdini's lost diaries
1017
00:54:24,680 --> 00:54:28,000
suggest genuine anticipation,
not skepticism.
1018
00:54:28,160 --> 00:54:31,920
"Met Lady Doyle
and the three children.
Had lunch with them.
1019
00:54:32,080 --> 00:54:35,120
They believe implicitly
in spiritualism.
1020
00:54:35,280 --> 00:54:38,920
Sir Arthur told me
he has spoken six times
to his son.
1021
00:54:39,080 --> 00:54:41,640
No possible chance
for trickery."
1022
00:54:41,800 --> 00:54:43,720
There's no doubt
that Houdini wanted to believe
1023
00:54:43,880 --> 00:54:45,920
that you could contact
the dead, you know?
1024
00:54:46,080 --> 00:54:48,520
He had a vested interest in
his mother's case, obviously.
1025
00:54:48,680 --> 00:54:51,520
In the summer of 1922,
1026
00:54:51,680 --> 00:54:54,840
Arthur Conan Doyle
invites Houdini and Bess
down to Atlantic City
1027
00:54:55,000 --> 00:54:57,560
to spend the weekend
and have a good time.
1028
00:54:59,440 --> 00:55:00,920
Cox: And it's during this time
1029
00:55:01,080 --> 00:55:04,240
that Doyle invites Houdini
to a private seance.
1030
00:55:04,400 --> 00:55:06,320
Doyle said, you know,
1031
00:55:06,480 --> 00:55:10,200
"Your mother is trying
to get in contact with you
through Lady Doyle."
1032
00:55:10,360 --> 00:55:13,000
Houdini didn't go there
or even consider it
1033
00:55:13,160 --> 00:55:17,920
that Doyle was going to try
to defraud him or fool him.
1034
00:55:18,080 --> 00:55:20,520
He was really wondering
whether it would work.
1035
00:55:20,680 --> 00:55:23,680
He really hoped perhaps
his mother might come through.
1036
00:55:25,480 --> 00:55:27,520
Fishburne:
This extraordinary diary entry
1037
00:55:27,680 --> 00:55:29,400
details what happens
in the room.
1038
00:55:29,560 --> 00:55:32,120
"Sir Arthur asked Lady Doyle,
1039
00:55:32,280 --> 00:55:33,720
who was standing
alongside of me,
1040
00:55:33,880 --> 00:55:36,520
and was it my mother?
1041
00:55:36,680 --> 00:55:38,920
Lady Doyle's hands struck
the table three times
1042
00:55:39,080 --> 00:55:40,520
signifying, yes,
1043
00:55:40,680 --> 00:55:44,120
that my mother
was alongside of me."
1044
00:55:44,280 --> 00:55:45,680
Sandford:
Shortly thereafter,
1045
00:55:45,840 --> 00:55:49,960
a pencil in Lady Doyle's hand
began to move,
1046
00:55:50,120 --> 00:55:52,200
apparently of its own accord.
1047
00:55:52,360 --> 00:55:57,080
Cox: And he received
a several pages long
message from his mother.
1048
00:56:00,280 --> 00:56:02,560
Fishburne:
Houdini transcribes
everything Lady Doyle
1049
00:56:02,720 --> 00:56:04,520
had claimed
his mother told her.
1050
00:56:04,680 --> 00:56:08,120
Cox: He's cautious
and he is recording everything
1051
00:56:08,280 --> 00:56:10,520
that happened in this seance
because this is going
1052
00:56:10,680 --> 00:56:13,120
to become a point
of dispute later on.
1053
00:56:13,280 --> 00:56:16,320
It's very important.
1054
00:56:16,480 --> 00:56:18,040
Fishburne:
Part of that message reads,
1055
00:56:18,200 --> 00:56:22,840
"Never had a mother such son.
Tell him not to grieve.
1056
00:56:23,000 --> 00:56:26,920
God bless you, too,
Sir Arthur, for what
you are doing for us.
1057
00:56:27,080 --> 00:56:29,520
A happiness awaits him
that he has never dreamed of.
1058
00:56:29,680 --> 00:56:31,640
His eyes will soon
be opened."
1059
00:56:33,880 --> 00:56:35,320
And Houdini didn't show it
at the time,
1060
00:56:35,480 --> 00:56:37,520
but I think
it must've enraged him.
1061
00:56:37,680 --> 00:56:41,320
Because in looking at that,
what he can see is,
1062
00:56:41,480 --> 00:56:44,000
"I'm being manipulated.
They think I'm stupid."
1063
00:56:47,880 --> 00:56:50,720
Teller: Now, of course,
Houdini's a superstar.
1064
00:56:50,880 --> 00:56:52,480
Arthur Conan Doyle
is a superstar.
1065
00:56:52,640 --> 00:56:55,320
They are going to drag him
into press interviews
1066
00:56:55,480 --> 00:56:58,200
like Britney Spears
is dragged into interviews.
1067
00:56:58,360 --> 00:57:01,520
They're going to say,
"What did you think?"
1068
00:57:01,680 --> 00:57:03,600
And at this point
Houdini says,
1069
00:57:03,760 --> 00:57:08,240
"I don't believe it was real.
It couldn't have been."
1070
00:57:10,280 --> 00:57:13,800
Fishburne:
On December 19th 1922,
the gloves come off.
1071
00:57:13,960 --> 00:57:19,480
Houdini writes
a deposition that declares
Lady Doyle to be a fraud.
1072
00:57:19,640 --> 00:57:23,520
Of course, Conan Doyle
and his wife Lady Doyle took
great umbrage to this.
1073
00:57:23,680 --> 00:57:25,520
They were very upset.
They took it personally.
1074
00:57:25,680 --> 00:57:28,920
Sandford: The fact
that his wife's medium‐ship
1075
00:57:29,080 --> 00:57:31,120
specifically
was being questioned
1076
00:57:31,280 --> 00:57:32,520
was I think really what lit
1077
00:57:32,680 --> 00:57:34,240
the blue touch paper
with Doyle.
1078
00:57:34,400 --> 00:57:36,480
He was absolutely incensed.
1079
00:57:36,640 --> 00:57:39,120
Fishburne:
Writing in the press,
1080
00:57:39,280 --> 00:57:43,320
Houdini vows
that he will seek out
and expose all fake mediums.
1081
00:57:43,480 --> 00:57:46,720
Teller: Houdini felt that
absolutely gut‐level
1082
00:57:46,880 --> 00:57:50,560
as a moral issue
of the greatest power.
1083
00:57:50,720 --> 00:57:54,640
Houdini was facing
a pretty powerful,
1084
00:57:54,800 --> 00:57:58,160
essentially mafia
of spiritualists.
1085
00:58:00,080 --> 00:58:02,320
Jillette:
People were making money
hand over fist.
1086
00:58:02,480 --> 00:58:04,720
And it was popular
with the upper crust,
1087
00:58:04,880 --> 00:58:08,160
so that there was
a lot of money to be stolen.
1088
00:58:08,320 --> 00:58:10,240
It was a real,
real good racket.
1089
00:58:10,400 --> 00:58:15,520
These people
were really crazy successful
and rolling in dough.
1090
00:58:15,680 --> 00:58:18,920
Kalush: There had been
mediums in the past
who had poisoned people
1091
00:58:19,080 --> 00:58:22,120
or beaten people
or killed people over
these very issues.
1092
00:58:22,280 --> 00:58:24,760
He went into it
with open eyes.
1093
00:58:32,200 --> 00:58:33,840
Fishburne: 1923.
1094
00:58:34,000 --> 00:58:35,840
Houdini's war
against bogus mediums
1095
00:58:36,000 --> 00:58:37,440
is about to accelerate.
1096
00:58:41,400 --> 00:58:47,240
And to bolster his case,
he teams up with "Scientific
American Magazine."
1097
00:58:47,400 --> 00:58:49,840
Kalush: "Scientific American"
offered a $2,500 prize
1098
00:58:50,000 --> 00:58:51,640
if you could
demonstrate something
1099
00:58:51,800 --> 00:58:54,880
that would be
essentially supernatural
1100
00:58:55,040 --> 00:58:58,600
in the presence
of their committee.
1101
00:58:58,760 --> 00:59:01,240
Cuiffo: One of the members
of the "Scientific American"
committee,
1102
00:59:01,400 --> 00:59:05,240
Malcolm J. Bird, proposed
a woman named Margery,
1103
00:59:05,400 --> 00:59:07,240
who was a medium in Boston,
1104
00:59:07,400 --> 00:59:10,000
to be one of the candidates
for this prize.
1105
00:59:10,160 --> 00:59:14,040
Cox:
When Houdini learned of this,
he said, "Wait a minute.
1106
00:59:14,200 --> 00:59:18,520
No one's getting any prize
until I sit with Margery."
1107
00:59:18,680 --> 00:59:21,040
Cuiffo: Margery was
a very interesting medium.
1108
00:59:21,200 --> 00:59:25,040
Kalush:
She was the third wife
of Dr. Lee Roi Crandon.
1109
00:59:25,200 --> 00:59:30,440
She and her husband
started doing these seances
in their home,
1110
00:59:30,600 --> 00:59:34,160
inviting the top tier
of Boston society.
1111
00:59:34,320 --> 00:59:37,400
Cox:
And what went on in these
seances was wild.
1112
00:59:37,560 --> 00:59:40,640
You know, some mediums
might levitate a table
1113
00:59:40,800 --> 00:59:42,640
to show a spirit is present.
1114
00:59:42,800 --> 00:59:45,240
It's said that Margery's table
would actually get up
1115
00:59:45,400 --> 00:59:47,480
and chase people
out of the room.
1116
00:59:47,640 --> 00:59:50,640
People said they lost weight
because of the psychic energy.
1117
00:59:50,800 --> 00:59:55,680
She channeled her dead brother,
who told dirty jokes.
1118
00:59:55,840 --> 01:00:00,600
Margery also did
her seances nude except
for a silk kimono,
1119
01:00:00,760 --> 01:00:04,520
and you could search
the medium if you so desired.
1120
01:00:04,680 --> 01:00:06,640
She was just
the most interesting
1121
01:00:06,800 --> 01:00:08,400
and exciting medium
of that time.
1122
01:00:08,560 --> 01:00:09,640
She was a star.
1123
01:00:11,600 --> 01:00:14,640
Behind the scenes,
Conan Doyle and Crandon
1124
01:00:14,800 --> 01:00:16,440
were writing to each other
and concerned
1125
01:00:16,600 --> 01:00:18,400
that Houdini was going to be
on this committee
1126
01:00:18,560 --> 01:00:22,240
to try to prove
that Margery wasn't real.
1127
01:00:22,400 --> 01:00:24,080
Cox: This is
the championship bout.
1128
01:00:24,240 --> 01:00:25,720
The greatest medium
1129
01:00:25,880 --> 01:00:28,960
against the greatest exposer
of fraudulent mediums.
1130
01:00:29,120 --> 01:00:31,120
Kind of everything hangs
in the balance.
1131
01:00:35,600 --> 01:00:39,040
Kalush: It was probably
a pretty tense night,
that first seance.
1132
01:00:39,200 --> 01:00:41,160
They're sort of feeling
each other out.
1133
01:00:41,320 --> 01:00:43,560
They didn't really know how
Houdini was going to respond.
1134
01:00:47,400 --> 01:00:50,800
Cuiffo: Margery channeled
her dead brother Walter
to speak through her.
1135
01:00:50,960 --> 01:00:52,840
Sandford:
The spirit said,
1136
01:00:53,000 --> 01:00:56,240
"What would you like me
to do with this trumpet?"
1137
01:00:56,400 --> 01:01:00,240
And Houdini said,
"Well, make it fall
to the floor."
1138
01:01:00,400 --> 01:01:02,840
And sure enough,
a second or two later
in the darkened room,
1139
01:01:03,000 --> 01:01:04,800
it clattered to the floor.
1140
01:01:08,320 --> 01:01:10,000
Cuiffo:
It actually hit Houdini
on the feet.
1141
01:01:10,160 --> 01:01:12,840
Margery was thrown back
in her chair,
1142
01:01:13,000 --> 01:01:14,800
and that was the main event.
1143
01:01:14,960 --> 01:01:20,040
And for Houdini,
it was by the book
classic fraud tricks
1144
01:01:20,200 --> 01:01:22,240
that he's known about
for many, many years.
1145
01:01:22,400 --> 01:01:24,160
They go back to the hotel,
1146
01:01:24,320 --> 01:01:26,160
Houdini and
the "Scientific American"
committee,
1147
01:01:26,320 --> 01:01:28,240
and he says as much and
wants to out her immediately
1148
01:01:28,400 --> 01:01:30,240
like they've done with
other mediums before that.
1149
01:01:35,160 --> 01:01:36,840
Sandford:
But other heads prevailed
1150
01:01:37,000 --> 01:01:40,200
and advised him to wait
for at least one more seance
1151
01:01:40,360 --> 01:01:43,320
before they made any
public statement about her.
1152
01:01:46,600 --> 01:01:49,560
Cuiffo:
So for the second seance,
he devised this contraption,
1153
01:01:49,720 --> 01:01:52,600
essentially a box that
contained her entire body.
1154
01:01:52,760 --> 01:01:55,440
Kalush: Stopping her
from doing anything,
1155
01:01:55,600 --> 01:01:59,040
proving in theory that
it was the spirit Walter
1156
01:01:59,200 --> 01:02:01,440
that was actually doing
the physical manifestations.
1157
01:02:01,600 --> 01:02:04,440
There's so many fascinating
dynamics in that second seance
1158
01:02:04,600 --> 01:02:06,600
because Houdini does get
his limitations put in place,
1159
01:02:06,760 --> 01:02:10,640
and that succeeds
in stopping Margery
1160
01:02:10,800 --> 01:02:14,120
from making any physical
manifestations from occurring.
1161
01:02:14,280 --> 01:02:17,720
It was an acrimonious seance,
to put it very mildly.
1162
01:02:17,880 --> 01:02:22,040
Kalush: Walter started
singing little songs,
1163
01:02:22,200 --> 01:02:25,720
calling Houdini epithets,
anti‐Jewish epithets.
1164
01:02:25,880 --> 01:02:28,840
The phrase, "You're a son
of a ‐‐, Houdini,"
1165
01:02:29,000 --> 01:02:32,960
was the one‐‐ the sort of
takeaway phrase of the seance.
1166
01:02:33,120 --> 01:02:35,840
Cuiffo:
That must have affected him.
1167
01:02:36,000 --> 01:02:38,440
It was a direct
personal attack on Houdini
1168
01:02:38,600 --> 01:02:40,400
and also the memory
of his mother.
1169
01:02:40,560 --> 01:02:42,440
It did make him very angry,
1170
01:02:42,600 --> 01:02:45,040
and Walter
then became threatening
1171
01:02:45,200 --> 01:02:47,240
started saying that Houdini
wasn't going to live,
1172
01:02:47,400 --> 01:02:49,640
that he was going
to put a curse on him
1173
01:02:49,800 --> 01:02:51,840
that was going to last
until the day he died.
1174
01:02:54,000 --> 01:02:57,400
Cuiffo:
Houdini had won this battle,
had succeeded in stopping her.
1175
01:02:57,560 --> 01:03:01,040
And now it was just
coming out as this vitriol
1176
01:03:01,200 --> 01:03:05,520
that would then soon really
explode in the months to come.
1177
01:03:11,000 --> 01:03:14,640
In February 1925,
the "Scientific American"
1178
01:03:14,800 --> 01:03:17,800
rejected Margery's claim
to their prize.
1179
01:03:17,960 --> 01:03:22,640
Kalush: I think it was
a major victory for Houdini.
1180
01:03:22,800 --> 01:03:24,640
If this had gone
the other way,
1181
01:03:24,800 --> 01:03:26,040
I think it could
have been very damaging
1182
01:03:26,200 --> 01:03:28,040
to Houdini's reputation.
1183
01:03:28,200 --> 01:03:31,440
He had this opportunity now
to keep his name
1184
01:03:31,600 --> 01:03:34,160
in front of the public
in a different way altogether.
1185
01:03:34,320 --> 01:03:37,600
Caveney:
He discovered that he no longer
had to jump off a bridge
1186
01:03:37,760 --> 01:03:42,760
into a freezing cold river
to end up on the front page.
1187
01:03:42,920 --> 01:03:47,240
He could expose exactly
how these mediums are doing
what they're doing
1188
01:03:47,400 --> 01:03:50,040
and he still got
huge press coverage.
1189
01:03:50,200 --> 01:03:51,840
So, he went for it,
1190
01:03:52,000 --> 01:03:55,040
despite the danger
and regardless of the threats
1191
01:03:55,200 --> 01:03:58,680
and the other insults
that were thrown his way.
1192
01:03:58,840 --> 01:04:03,840
Jillette: What Houdini
I don't think knew
he was monkeying with
1193
01:04:04,000 --> 01:04:07,840
was the level of
complete immorality.
1194
01:04:08,000 --> 01:04:12,880
Spiritualists at the time
were organized as criminals
1195
01:04:13,040 --> 01:04:15,240
and were also part
of organized crime.
1196
01:04:15,400 --> 01:04:20,560
It's like you're dealing with,
you know, a drug cartel.
1197
01:04:20,720 --> 01:04:23,960
Caveney: Many of these people
wanted to see him dead.
1198
01:04:33,480 --> 01:04:35,200
Fishburne: 1925.
1199
01:04:35,360 --> 01:04:38,480
Houdini's secret diaries
reveal he has a new obsession,
1200
01:04:38,640 --> 01:04:43,000
one that many believe
would lead to his demise.
1201
01:04:45,280 --> 01:04:46,960
Cuifo: Houdini would go
to these mediums himself,
sometimes in disguise‐‐
1202
01:04:47,120 --> 01:04:49,240
there's a great photo
of Houdini as an old man‐‐
1203
01:04:49,400 --> 01:04:50,560
partly for his own
entertainment
1204
01:04:50,720 --> 01:04:52,760
under the guise
of getting research.
1205
01:04:52,920 --> 01:04:56,040
Lynch: He would go in
and get a reading
and he would play along.
1206
01:04:56,200 --> 01:04:57,920
And then as soon
as they slipped up,
he would be like,
1207
01:04:58,080 --> 01:05:00,800
"Ah, it is I,
Houdini, and I'm shutting
this place down!"
1208
01:05:03,320 --> 01:05:05,720
Kalush: After this
information was gathered,
he would use it in his show,
1209
01:05:05,880 --> 01:05:09,520
and he would publicly
expose the most egregious
of these mediums.
1210
01:05:09,680 --> 01:05:12,560
Teller: I believe
that Houdini's passion
was absolutely genuine.
1211
01:05:12,720 --> 01:05:14,520
But I don't think
at any point
1212
01:05:14,680 --> 01:05:18,040
he ever forgot that conflict
makes a great story.
1213
01:05:18,200 --> 01:05:20,360
All of these things
made great press
1214
01:05:20,520 --> 01:05:24,160
at the same time
that they were actually making
a very important point.
1215
01:05:24,320 --> 01:05:26,560
Fishburne: The mediums,
1216
01:05:26,720 --> 01:05:30,760
and their shrinking wallets,
are livid.
1217
01:05:30,920 --> 01:05:35,160
Spiritualists were
very fond of making
indirect death threats.
1218
01:05:35,320 --> 01:05:36,920
"Houdini doesn't
have long to live."
1219
01:05:37,080 --> 01:05:39,160
"Houdini is not long
for this world."
1220
01:05:39,320 --> 01:05:43,160
So the atmosphere
around him included
1221
01:05:43,320 --> 01:05:46,560
an element of really
virulent hostility.
1222
01:05:49,640 --> 01:05:51,720
Cuiffo:
People writing him letters
threatening him,
1223
01:05:51,880 --> 01:05:53,760
putting curses on him.
1224
01:05:53,920 --> 01:05:56,960
It became a new level
of aggression towards Houdini,
1225
01:05:57,120 --> 01:06:00,280
enough that he would mention it
in newspaper articles.
1226
01:06:04,920 --> 01:06:06,280
Fishburne: For all
of his public bravado,
1227
01:06:06,440 --> 01:06:08,960
Houdini is becoming
greatly unnerved
1228
01:06:09,120 --> 01:06:11,280
by these constant threats.
1229
01:06:13,120 --> 01:06:14,880
Zenon: Obviously,
Houdini was fronting it out,
1230
01:06:15,040 --> 01:06:16,560
but you get the idea
that behind the scenes
1231
01:06:16,720 --> 01:06:18,160
he was actually quite worried.
1232
01:06:18,320 --> 01:06:20,760
These organizations
had real clout behind them.
1233
01:06:20,920 --> 01:06:22,760
Teller:
There's hostility in the air.
1234
01:06:22,920 --> 01:06:25,560
There's criminal activity
on all sides.
1235
01:06:25,720 --> 01:06:29,760
There's this weird feeling
of hatred that he,
1236
01:06:29,920 --> 01:06:32,440
I don't believe, previously
had been living with.
1237
01:06:32,600 --> 01:06:35,560
I don't think he had
been living with that
poisonous sort of thing
1238
01:06:35,720 --> 01:06:40,160
where there's
a group of people that just
hate you all the time.
1239
01:06:40,320 --> 01:06:42,680
That's a difficult thing
emotionally to deal with.
1240
01:06:42,840 --> 01:06:47,160
Fishburne:
By the fall of 1926,
1241
01:06:47,320 --> 01:06:50,360
the feud is taking its toll.
1242
01:06:50,520 --> 01:06:52,760
Kalush: He seemed to be
breaking a little bit.
1243
01:06:52,920 --> 01:06:57,600
He called a long‐time friend,
Joseph Dunninger,
1244
01:06:57,760 --> 01:07:00,760
to come over at midnight
in a rainy night.
1245
01:07:00,920 --> 01:07:02,760
Cox: He collects Houdini.
They drive off.
1246
01:07:02,920 --> 01:07:04,800
And suddenly Houdini says,
1247
01:07:04,960 --> 01:07:07,000
"Turn around Joe.
Go back to the house."
1248
01:07:07,160 --> 01:07:11,360
Houdini gets out,
stands staring at his house,
1249
01:07:11,520 --> 01:07:14,560
and then gets back
in the car and says,
"Okay, we can go."
1250
01:07:14,720 --> 01:07:18,200
And they leave,
and Dunninger turns and sees
that Houdini's crying.
1251
01:07:18,360 --> 01:07:20,520
That's when Harry
proclaims to Joe,
1252
01:07:20,680 --> 01:07:22,960
"That's the last time
I've seen my house.
1253
01:07:23,120 --> 01:07:25,360
I will never see it again."
1254
01:07:25,520 --> 01:07:28,360
Cox: Turns out,
that was the last time
he saw his house.
1255
01:07:28,520 --> 01:07:33,040
But it's fascinating.
Did Houdini have a premonition
of his own death?
1256
01:07:36,160 --> 01:07:38,680
Goodwin:
On October the 19th in 1926,
1257
01:07:38,840 --> 01:07:43,040
Houdini gave a lecture at
McGill University in Montreal.
1258
01:07:43,200 --> 01:07:45,560
Cuiffo: Houdini was giving
these spiritualistic lectures.
1259
01:07:45,720 --> 01:07:47,760
It was like
his new act in a way,
1260
01:07:47,920 --> 01:07:49,240
and it was a much easier
act to perform
1261
01:07:49,400 --> 01:07:50,760
because it was basically
a lecture.
1262
01:07:50,920 --> 01:07:52,880
But he would demonstrate
some of the methods
1263
01:07:53,040 --> 01:07:56,640
that fraudulent
mediums would use.
1264
01:07:56,800 --> 01:07:58,560
Goodwin:
He spoke very vitriolically
1265
01:07:58,720 --> 01:08:01,120
about Margery and Lady Doyle.
1266
01:08:01,280 --> 01:08:03,360
It raised the hairs on the backs
of the reporters' necks
1267
01:08:03,520 --> 01:08:05,360
enough to mention
in the papers
1268
01:08:05,520 --> 01:08:07,560
that it was quite
a scathing attack,
1269
01:08:07,720 --> 01:08:09,960
which inevitably
got back to them.
1270
01:08:12,600 --> 01:08:15,200
Goodwin: After the lecture,
Houdini is relaxing
1271
01:08:15,360 --> 01:08:16,760
in a common room
or dressing room.
1272
01:08:16,920 --> 01:08:18,160
He's surrounded by students
1273
01:08:18,320 --> 01:08:20,960
and people that wanted
to talk to him.
1274
01:08:21,120 --> 01:08:25,720
Cuiffo: And it was at this
casual gathering of students
after this lecture
1275
01:08:25,880 --> 01:08:29,840
where he started to boast
that he could withstand punches.
1276
01:08:32,320 --> 01:08:33,760
Cox: He said,
"Hey, if anyone wants
1277
01:08:33,920 --> 01:08:35,360
to punch me in the stomach,
I can take it."
1278
01:08:35,520 --> 01:08:37,760
And a student
named Gerard Pickleman
1279
01:08:37,920 --> 01:08:39,680
did indeed punch him
in the stomach.
1280
01:08:42,320 --> 01:08:44,560
Goodwin: And to his credit,
Houdini didn't react,
1281
01:08:44,720 --> 01:08:47,200
didn't wince,
and just stood there
and took it.
1282
01:08:47,360 --> 01:08:49,480
And that was kind of
the wrap‐up of the evening.
1283
01:08:49,640 --> 01:08:53,560
So that was ostensibly
punch number one for Houdini
1284
01:08:53,720 --> 01:08:55,080
while he was in Montreal.
1285
01:08:58,880 --> 01:09:01,360
Tuesday, he does
this performance.
1286
01:09:01,520 --> 01:09:04,120
Then that Friday,
Houdini goes to the theater,
1287
01:09:04,280 --> 01:09:05,760
and he's met at the theater
1288
01:09:05,920 --> 01:09:07,920
by two students
who want to chat with him.
1289
01:09:09,920 --> 01:09:11,360
They sit with Houdini.
1290
01:09:11,520 --> 01:09:13,160
Houdini's laying down
on the couch relaxing
1291
01:09:13,320 --> 01:09:15,920
while this student
begins to sketch him.
1292
01:09:16,080 --> 01:09:20,360
Shortly after,
another student comes in‐‐
1293
01:09:20,520 --> 01:09:21,840
J. Gordon Whitehead.
1294
01:09:24,600 --> 01:09:26,680
He came in and immediately
started initiating
1295
01:09:26,840 --> 01:09:29,360
a lot of conversation
with Houdini.
1296
01:09:29,520 --> 01:09:33,360
Sandford: Apparently
the conversation turned
towards his physical strength
1297
01:09:33,520 --> 01:09:36,360
and his ability
to withstand a blow
to the stomach.
1298
01:09:36,520 --> 01:09:39,400
Whitehead said, "Could I test
your stomach muscles?"
1299
01:09:39,560 --> 01:09:41,760
Some people characterized
it as sudden,
1300
01:09:41,920 --> 01:09:44,680
that Whitehead
suddenly came at him
and started punching him.
1301
01:09:48,520 --> 01:09:50,640
Sandford: And he hit him
two or three times
1302
01:09:50,800 --> 01:09:53,400
before one of the other
students told him to lay off.
1303
01:09:55,320 --> 01:09:58,480
By then, the damage had
almost certainly been done.
1304
01:10:03,720 --> 01:10:06,480
I don't think he was aware
of the severity of it.
1305
01:10:06,640 --> 01:10:10,360
Even the night
that he was attacked
in his dressing room,
1306
01:10:10,520 --> 01:10:12,080
he went on and gave a show.
1307
01:10:15,240 --> 01:10:17,360
They basically had to
force him to go to hospital,
1308
01:10:17,520 --> 01:10:21,160
at which point they decided
that they needed to operate.
1309
01:10:21,320 --> 01:10:24,360
And as soon as
they opened him up,
the doctors, the surgeon,
1310
01:10:24,520 --> 01:10:27,640
realized just how serious
the situation was.
1311
01:10:29,920 --> 01:10:33,760
Kalush: They didn't have
antibiotics like we have now.
1312
01:10:33,920 --> 01:10:36,240
Probably they knew that
there wasn't much chance.
1313
01:10:36,400 --> 01:10:40,520
He basically hung on
for‐‐ what was it?
Seven or eight days.
1314
01:10:40,680 --> 01:10:44,560
He was in
his brother Theo's arms,
1315
01:10:44,720 --> 01:10:48,160
and he said,
"I'm tired of fighting.
1316
01:10:48,320 --> 01:10:49,760
I guess this thing
is going to get me."
1317
01:10:49,920 --> 01:10:54,560
And we would lose Harry Houdini
on October 31st, 1926.
1318
01:11:02,920 --> 01:11:05,840
Cox: Houdini's death
really did shock people.
1319
01:11:06,000 --> 01:11:10,440
The Great Houdini,
who couldn't be defeated,
is suddenly dead.
1320
01:11:10,600 --> 01:11:11,960
It was truly shocking.
1321
01:11:12,120 --> 01:11:14,960
I think people had a hard time
1322
01:11:15,120 --> 01:11:17,680
accepting the fact
that the great Houdini,
1323
01:11:17,840 --> 01:11:21,760
the guy that defied death
all of his life,
1324
01:11:21,920 --> 01:11:24,400
was punched in the stomach
by a college kid
1325
01:11:24,560 --> 01:11:25,960
and it killed him.
1326
01:11:26,120 --> 01:11:27,960
It's like,
how can that be?
1327
01:11:28,120 --> 01:11:30,000
There's gotta be
more to it than that.
1328
01:11:30,160 --> 01:11:33,160
Kalush:
Almost immediately,
1329
01:11:33,320 --> 01:11:35,320
there were rumors
in the newspapers
1330
01:11:35,480 --> 01:11:38,760
and swirling around
that Houdini had been murdered.
1331
01:11:38,920 --> 01:11:40,720
Cox: And like any time
a celebrity dies,
1332
01:11:40,880 --> 01:11:42,600
it opens the door
to conspiracy theories.
1333
01:11:42,760 --> 01:11:45,360
The tabloid press begin
1334
01:11:45,520 --> 01:11:48,880
to make these suggestions
almost from the beginning.
1335
01:11:49,040 --> 01:11:52,960
Kalush: All those threats,
it just raises the question
1336
01:11:53,120 --> 01:11:55,760
as to were there plots
against him?
1337
01:11:55,920 --> 01:11:57,360
Cox: What exactly happened?
1338
01:11:57,520 --> 01:11:59,160
How could Houdini be
brought down so quickly?
1339
01:11:59,320 --> 01:12:00,680
Was there more to the story?
1340
01:12:11,960 --> 01:12:13,960
Fishburne: Halloween, 1926.
1341
01:12:14,120 --> 01:12:16,920
Houdini the superman is dead.
1342
01:12:17,080 --> 01:12:20,400
Immediately,
rumors begin to swirl.
1343
01:12:20,560 --> 01:12:22,120
Had Houdini been murdered?
1344
01:12:25,840 --> 01:12:31,200
The first group
that fall under suspicion
are the spiritualists.
1345
01:12:31,360 --> 01:12:33,800
After their relentless
campaign of death threats,
1346
01:12:33,960 --> 01:12:36,600
they are impossible to ignore.
1347
01:12:36,760 --> 01:12:39,200
Jillette: True believers,
once you get someone
1348
01:12:39,360 --> 01:12:42,800
who's talking about God
and the great beyond,
1349
01:12:42,960 --> 01:12:45,800
that's an end
that justifies any means.
1350
01:12:45,960 --> 01:12:48,000
And I also know
the spiritualists are,
um, terrible,
1351
01:12:48,160 --> 01:12:50,600
terrible, awful criminals,
1352
01:12:50,760 --> 01:12:52,560
and are not beyond poisoning.
1353
01:12:55,160 --> 01:12:57,400
Cox: The great beneficiaries
of Houdini's death
1354
01:12:57,560 --> 01:13:01,440
were spiritualists and people
like Doyle and Crandon.
1355
01:13:01,600 --> 01:13:04,800
They'd become the leading lights
in the spiritualist movement.
1356
01:13:04,960 --> 01:13:08,280
With Houdini out of the way,
the world was their oyster.
1357
01:13:08,440 --> 01:13:11,800
Cuiffo: We know
that the spiritualists
1358
01:13:11,960 --> 01:13:13,600
were definitely
celebrating this moment.
1359
01:13:13,760 --> 01:13:16,600
Crandon was kind of
gloating to Doyle
1360
01:13:16,760 --> 01:13:19,800
that Houdini was dead.
1361
01:13:19,960 --> 01:13:22,200
Kalush: The newspapers
began reporting
1362
01:13:22,360 --> 01:13:25,640
that Doyle had been
predicting Houdini's death.
1363
01:13:25,800 --> 01:13:28,600
Cuiffo: So it does seem
plausible that perhaps
1364
01:13:28,760 --> 01:13:31,560
in this vast
decentralized network
1365
01:13:31,720 --> 01:13:35,160
of fanatical spiritualists
that somebody could take that
1366
01:13:35,320 --> 01:13:37,200
in very real way
and act on it.
1367
01:13:37,360 --> 01:13:40,240
Kalush: So I think Houdini
expected something to happen.
1368
01:13:40,400 --> 01:13:43,800
He took to carrying a gun.
1369
01:13:43,960 --> 01:13:49,320
Fishburne: People ask,
"Was J. Gordon Whitehead part
of a plot to kill Houdini?
1370
01:13:51,560 --> 01:13:56,600
People were trying
to tie Whitehead
to spiritualist movement
1371
01:13:56,760 --> 01:13:59,400
and say that he knew Crandon
1372
01:13:59,560 --> 01:14:01,600
and maybe they had
colluded in some way
1373
01:14:01,760 --> 01:14:03,640
in order to murder Houdini.
1374
01:14:03,800 --> 01:14:07,400
Kalush: And it also
seems quite evident
1375
01:14:07,560 --> 01:14:10,680
that Houdini was aware
of who Whitehead was
1376
01:14:10,840 --> 01:14:13,000
before this happened
in his dressing room.
1377
01:14:13,160 --> 01:14:15,800
It wasn't just
a stranger who wandered in.
1378
01:14:15,960 --> 01:14:17,240
He was returning a book.
1379
01:14:17,400 --> 01:14:19,400
He also claimed
in his deposition
1380
01:14:19,560 --> 01:14:22,800
that he was in touch
with Houdini two more times
1381
01:14:22,960 --> 01:14:25,200
before Houdini left Montreal.
1382
01:14:25,360 --> 01:14:29,200
So, I think it's likely
that Whitehead
1383
01:14:29,360 --> 01:14:33,560
was connected in some way
to spiritualists.
1384
01:14:36,360 --> 01:14:40,000
Fishburne:
Eyewitness testimonial,
rarely seen in public since,
1385
01:14:40,160 --> 01:14:42,520
claims Whitehead asked
Houdini a series of questions
1386
01:14:42,680 --> 01:14:47,400
before he punched him
in the stomach.
1387
01:14:47,560 --> 01:14:50,400
Kalush: One of the tactics
of the spiritualists
at that time
1388
01:14:50,560 --> 01:14:53,600
were to try to turn
the conversation to the point
1389
01:14:53,760 --> 01:14:59,160
where they said
that Jesus and the apostles
were actually mediums.
1390
01:14:59,320 --> 01:15:03,400
Man: And at one point,
Whitehead does ask Houdini,
1391
01:15:03,560 --> 01:15:05,720
you know,
how do you explain
the miracles in the Bible?
1392
01:15:05,880 --> 01:15:08,320
Are those frauds?
1393
01:15:10,720 --> 01:15:12,120
Kalush: Houdini then said,
1394
01:15:12,280 --> 01:15:14,800
"Well, if I had lived
back in those times,
1395
01:15:14,960 --> 01:15:16,680
what would they
have thought of me?"
1396
01:15:16,840 --> 01:15:19,640
And this sort of
set off Whitehead,
1397
01:15:19,800 --> 01:15:21,000
and Whitehead came forward
1398
01:15:21,160 --> 01:15:23,800
and punched Houdini
in the abdomen.
1399
01:15:23,960 --> 01:15:26,600
And the stories
have been on both sides,
1400
01:15:26,760 --> 01:15:28,000
but two of the witnesses say
1401
01:15:28,160 --> 01:15:30,240
that Houdini did not invite it
or encourage it.
1402
01:15:31,760 --> 01:15:36,800
Were spiritualists bad
enough to commit murder?
1403
01:15:36,960 --> 01:15:38,600
Yes.
1404
01:15:38,760 --> 01:15:41,000
Did people believe
in spiritualism enough
1405
01:15:41,160 --> 01:15:42,800
that they would kill for that?
1406
01:15:42,960 --> 01:15:43,800
Yes.
1407
01:15:43,960 --> 01:15:47,120
Was Houdini kind of a macho‐‐
1408
01:15:47,280 --> 01:15:49,800
wanted to show
how tough he was?
1409
01:15:49,960 --> 01:15:51,520
Yes.
1410
01:15:51,680 --> 01:15:55,800
Can a university student
punch wicked hard?
1411
01:15:55,960 --> 01:15:58,000
Yes.
1412
01:15:58,160 --> 01:16:00,440
Culliton: There's all kinds
of ways to murder somebody.
1413
01:16:00,600 --> 01:16:03,200
You can shoot 'em,
stab 'em, poison 'em,
1414
01:16:03,360 --> 01:16:04,720
push 'em out a window.
1415
01:16:04,880 --> 01:16:07,200
But who has ever
murdered somebody
1416
01:16:07,360 --> 01:16:09,160
by punching them
in the stomach?
1417
01:16:09,320 --> 01:16:11,200
It doesn't really make sense,
1418
01:16:11,360 --> 01:16:14,800
even by the wildest
stretch of the imagination.
1419
01:16:14,960 --> 01:16:17,800
I don't think Houdini
in his final hours
1420
01:16:17,960 --> 01:16:21,200
was ever under the impression
that it had been anything
1421
01:16:21,360 --> 01:16:24,400
but a terrible accident
or a misunderstanding.
1422
01:16:26,560 --> 01:16:28,400
Fishburne: In fact,
on his deathbed,
1423
01:16:28,560 --> 01:16:30,800
Houdini himself ruled it out.
1424
01:16:30,960 --> 01:16:34,800
He stated to his nurse
Sophia Rosenblatt that,
1425
01:16:34,960 --> 01:16:37,400
"The poor boy
didn't mean it."
1426
01:16:37,560 --> 01:16:40,000
Sophie Rosenblatt's
deposition says that,
1427
01:16:40,160 --> 01:16:42,960
you know,
in a moment of lucidity,
1428
01:16:43,120 --> 01:16:46,200
Houdini says very clearly
that if the blows
were the cause of it,
1429
01:16:46,360 --> 01:16:49,240
that Whitehead didn't‐‐
didn't know what he was doing.
1430
01:16:49,400 --> 01:16:51,200
Houdini felt
it was an accident.
1431
01:16:51,360 --> 01:16:53,200
And to hear him say
"that poor boy"
1432
01:16:53,360 --> 01:16:56,440
is‐‐ is‐‐ is moving.
1433
01:16:59,360 --> 01:17:02,200
Fishburne:
The official cause of death
was peritonitis.
1434
01:17:02,360 --> 01:17:03,920
His appendix,
hugely inflamed,
1435
01:17:04,080 --> 01:17:08,800
hadn't been operated on
in time and had ruptured.
1436
01:17:08,960 --> 01:17:11,320
Goodwin: The truth is,
how he died was very simple.
1437
01:17:11,480 --> 01:17:14,000
And I think it was very
difficult for the public
1438
01:17:14,160 --> 01:17:17,000
and the media to accept it,
1439
01:17:17,160 --> 01:17:19,080
and they wanted to
make something more of it.
1440
01:17:19,240 --> 01:17:22,000
So it's almost
a sort of ridiculous end
1441
01:17:22,160 --> 01:17:24,400
to this fantastic,
magnificent life.
1442
01:17:24,560 --> 01:17:26,400
And it's hard to accept,
1443
01:17:26,560 --> 01:17:30,600
but I believe the facts
do support that.
1444
01:17:30,760 --> 01:17:35,000
Fishburne: So should
responsibility for the death
lie with Houdini himself,
1445
01:17:35,160 --> 01:17:39,800
allowing himself
to be punched when he knew
his body was failing him?
1446
01:17:39,960 --> 01:17:42,400
It seems the desire to
cheat death at every turn
1447
01:17:42,560 --> 01:17:44,320
finally got
the better of him.
1448
01:17:46,360 --> 01:17:49,200
On November 2nd, 1926,
1449
01:17:49,360 --> 01:17:52,440
people wept openly as
Houdini's body was returned
1450
01:17:52,600 --> 01:17:56,240
to his adopted home city
of New York.
1451
01:17:56,400 --> 01:17:57,440
Cox: People turned out.
1452
01:17:57,600 --> 01:17:59,320
They wanted to get
one last look
1453
01:17:59,480 --> 01:18:01,080
at Houdini, you know,
1454
01:18:01,240 --> 01:18:04,120
in the box that
he'll never escape.
1455
01:18:08,320 --> 01:18:10,800
Kalush: It's almost
like a state funeral.
1456
01:18:10,960 --> 01:18:15,000
And it speaks to, A,
not just how famous he is,
1457
01:18:15,160 --> 01:18:16,600
but also how well‐loved he was.
1458
01:18:16,760 --> 01:18:19,840
Terbosic:
In Harry Houdini's obituary,
1459
01:18:20,000 --> 01:18:22,360
he was referred to
as a scientist.
1460
01:18:22,520 --> 01:18:25,000
And I'm sure
as a young Harry Houdini
1461
01:18:25,160 --> 01:18:27,200
who had dropped out of school,
1462
01:18:27,360 --> 01:18:31,600
that probably brought
a smile to his face.
1463
01:18:31,760 --> 01:18:33,600
Fishburne: So having
delved into the secrets
1464
01:18:33,760 --> 01:18:35,280
hidden in
Houdini's lost diaries,
1465
01:18:35,440 --> 01:18:40,000
just who was
the man behind the mask?
1466
01:18:40,160 --> 01:18:42,800
Kalush: I think Houdini
was the American dream.
1467
01:18:42,960 --> 01:18:46,000
He came from almost nothing.
1468
01:18:46,160 --> 01:18:47,680
And through just grit,
1469
01:18:47,840 --> 01:18:51,200
and hard work and ingenuity
and imagination,
1470
01:18:51,360 --> 01:18:53,760
he did everything
in his life he wanted to do.
1471
01:18:53,920 --> 01:18:59,760
Very few entertainers
or performers can become
synonymous with their art.
1472
01:18:59,920 --> 01:19:04,680
His legacy as a performer
will live on forever.
1473
01:19:08,560 --> 01:19:10,840
Jillette:
And it's just so odd
1474
01:19:11,000 --> 01:19:15,880
that the superstar
of the 20th century
1475
01:19:16,040 --> 01:19:17,560
ended up being a magician.
1476
01:19:17,720 --> 01:19:23,680
And all we can do is thank God
he wasn't a ventriloquist.
1477
01:19:27,280 --> 01:19:30,120
Fishburne:
Houdini's diaries are
a chance to probe the mind
1478
01:19:30,280 --> 01:19:33,240
and personality of
the first global celebrity.
1479
01:19:33,400 --> 01:19:37,000
While he was a complex
and uniquely driven man,
1480
01:19:37,160 --> 01:19:39,400
Houdini succeeded because
1481
01:19:39,560 --> 01:19:41,840
in the turmoil and change
of the 20th century,
1482
01:19:42,000 --> 01:19:45,840
he gave back to the world
a sense of wonder and magic.
1483
01:19:46,000 --> 01:19:47,400
I'm Laurence Fishburne.
1484
01:19:47,560 --> 01:19:51,880
Thank you for watching
"History's Greatest Mysteries."
125057
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